f §/*?»■• 


EMIL  C.  K.  SCHMIDT 


' 


- 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/pendrawingpendra00penn_1 


GRAPHIC  ARTS  SERIES 
DRAWING 


THE 

PEN 


THE  GRAPHIC  ARTS  SERIES 
FOR  ARTISTS,  STUDENTS, 
AMATEURS  fc?  COLLECTORS 
Edited  by  JOSEPH  PENNELL 

Vol.  I.  LITHOGRAPHY 
Yol.  II.  ETCHING 
Vol.  III.  PEN  DRAWING 


PEN  DRAWING  AND 
PEN  DRAUGHTSMEN 

THEIR  WORK  AND  THEIR 
METHODS  : A STUDY  OF 
THE  ART  TODAY  WITH 
TECHNICAL  SUGGESTIONS 
BY 

IOSEPH  PENNELL 

N.  A. 

MEMBER  OF  FACULTY 
NATIONAL  ACADEMY  OF 
DESIGN  NEW  YORK  : SOME 
TIME  LECTURER  ON  ILLUS 
TRATION  SLADE  SCHOOL 
UNIVERSITY  COLLEGE 
LONDON 


THE  MACMILLAN  COMPANY  NEW  YORK 
T.  FISHER  UNWIN  LTD  LONDON  MCMXX 


COPYRIGHT,  1920,  BY  THE 
MACMILLAN  COMPANY,  N.  Y. 
PUBLISHED  NOVEMBER,  1920 
ALL  RIGHTS  RESERVED 


SET  UP  AND  PRINTED  BY  THE 
FRANKLIN  PRINTING  COMPANY 
PHILADELPHIA,  PENNA.,  U.  S.  A. 


TO  THE  IMMORTAL  MEMORY  OF 

A . W . DRAKE 
WM.  LEWIS  FRASER 
CHARLES  PARSONS 
RICHMOND  SEELEY 

FOUR  MEN  WHO  SHOULD  BE  HONORED 
FOR  THEIR  ENCOURAGEMENT  OF  PEN 
DRAWING  AND  PEN  DRAUGHTSMEN  IN 
AMERICA  AND  ENGLAND 
I 

DEDICATE  THIS 
BOOK 


GENERAL  PREFACE  TO  THE  GRAPHIC  ART  SERIES 

THERE  are  endless  series  of  art  books — and  endless  schools  of  art,  endless 
lecturers  on  art  and  art  criticism.  But  so  far  as  I know  there  are  no 
series  of  books  on  the  Graphic  Arts,  written  or  edited,  by  graphic  artists. 
This  series  is  intended  to  be  a survey  of  the  best  work  in  the  past — the 
work  that  is  admitted  to  be  worth  studying — and  a definite  statement  as  to  the 
best  methods  of  making  drawings,  prints  and  engravings,  written  in  every  case 
by  those  who  have  passed  their  lives  in  making  them.  J.  P. 


Vll 


PEN  DRAWING  AND  PEN  DRAUGHTSMEN  PREFACE  AND  INTRO 
DICTION  AND  EXPLANATION 

THERE  are  three  reasons  why  I wish  to  write  of  Pen  Drawing  at  present. 

The  first  because  I believe  that,  as  the  physician  alone  is  allowed  to 
speak  with  authority  on  medicine,  the  scientist  on  science,  the  lawyer  on 
law,  so  only  the  man  who  is  an  artist  and  who  has  made  and  studied  pen 
drawings  should  have  the  right  to  speak  authoritatively  of  them.  Only  the 
writing  on  art  by  one  who  has  technical  knowledge  is  of  practical  value.  This 
explains  why,  though  so  many  books  on  art  have  been  written  of  late,  so  few  are  of 
any  use  to  the  artist  or  even  to  the  layman  or  woman.  Such  volumes  as  Lalanne’s 
Treatise  on  Etchings  and  some  parts  of  Ruskin’s  Elements  of  Drawing , are  indeed 
the  exceptions.  That  this  book  has  gone  through  three  editions  is  a proof  of  what 
artists  think  of  it.  I have  said  this  before;  artists  know  it.  Some  day  critics  will 
admit  I am  right — or  rather,  if  they  still  exist,  that  they  are  wrong. 

This  leads  me  to  my  second  reason  for  writing:  the  very  unsatisfactory 
manner  in  which  Pen  Drawing  has  hitherto  been  treated.  The  self-styled  critics 
of  the  day  hold  their  own  notions  of  contemporary  and  earlier  fashions  in  art  to 
be  the  only  right  ones  and  abuse  or  ignore  all  others;  while  it  is  the  tendency  of 
most  modern  critical  prophets  so  to  enlarge  upon  the  divine  mission,  the  intellec- 
tual value,  the  historical  importance  of  art  in  the  past,  as  to  belittle  contemporary 
work,  unless  cubistic,  futuristic,  socialistic,  and  even  then  we  must  have  story 
before  drawing  and  uplift  above  technique,  and  to  ignore  technique,  which  among 
the  great,  and  they  are  so  few,  is  as  great  today  as  at  any  time.  Without  the 
nearest  possible  individual  approach  to  technical  perfection,  according  to  the 
standard  of  the  age  in  which  the  work  is  produced,  art  cannot  be  of  value  as  a 
whole,  although  in  parts  it  may  be  instructive.  Fancy  engineers  sitting  in  stained 
glass  attitudes  before  Fulton’s  steamboat  worshiping,  patronizing,  yet  ignoring 
the  latest  turbine  engine.  That  is  the  pose  of  the  art  critic  of  today. 

If  often  this  belittling  of  contemporary  art  is  to  be  expected  from  ignorant 
critics,  though  today  the  critic,  afraid  of  being  in  the  wrong,  lauds  every  new 
thing,  it  is  unwarranted  when  extended  to  pen  drawing,  which,  as  a distinct  art, 
one  of  the  graphic  arts,  belongs  only  to  the  last  few  years.  This  fact  has  been  so 
completely  overlooked  that  in  treatises  accepted  by  authorities,  Pen  Drawing  in 
its  modern  development  has  not  received  the  attention  it  deserves.  This  is  true 
even  of  Hamerton’s  chapter  on  the  subject,  though  it  must  be  remembered  that 
The  Graphic  Arts  was  published  in  1882,  before  pen  drawing  had  developed  to 
any  extent;  probably  also  this  chapter  was  written  at  a much  earlier  date.  Looking 
through  The  Graphic  Arts , I find  that  not  one  pen  drawing  is  reproduced  by  any 
direct  line  process  of  photo-engraving,  and  it  is  the  development  of  photo-engrav- 
ing, side  by  side  with  pen  drawing,  that  has  brought  the  latter  to  its  present 
position.  True,  the  pen  drawings  or  other  sketches  of  Albert  Diirer,  of  Da  Vinci 
and  Raphael,  of  Michael  Angelo,  Titian,  Rembrandt  and  Claude,  in  fact  of  every 
old  master,  but  above  all  of  Rembrandt  and  Claude,  are  unquestionably  instructive 


IX 


PREFACE 

and  interesting — many  of  them  great  works  of  art.  Of  the  drawings  of  several  of 
these  men  I shall  write.  As  a rule,  however,  the  drawings  of  the  old  masters  are  but 
memoranda,  the  adjuncts  of  another  art.  Now  pen  drawing  is  not  only  an  art,  but 
one  which,  as  well  as  painting  in  oils,  requires  technical  knowledge.  It  may  be  said 
that  the  old  men  often  made  elaborate  pen  drawings.  So  they  did;  just  as  Rossetti 
elaborated  with  his  pen  or  pencil  until  one  wishes  he  had  put  the  same  time  and 
work  that  went  to  his  illustrations  of  Tennyson,  and  copies  of  his  pictures,  into 
his  pastels.  In  the  end  he  succeeded  in  getting  what  he  wanted,  but  he  was  not  an 
intelligent  technician;  like  the  old  masters,  he  did  not  in  the  modern  sense  know 
how  to  make  a pen  drawing  for  reproduction.  Some  of  his  sketches,  however,  are 
extremely  fine  and  well  worth  study  and  can  be  reproduced  now. 

With  a certain  class  of  writers  on  art  I am  not  concerned,  since  to  them 
eloquent  writing  is  of  more  importance  than  honest  criticism,  and  their  ignorance 
of  the  technique  of  any  art  is  only  equalled  by  their  ability  to  write  of  it. 

There  have  been  men,  however,  who  have  sought  to  treat  pen  and  ink  draw- 
ing technically,  and  my  third  reason  for  writing  is  that  some  of  these  writers,  who 
call  themselves  pen  draughtsmen,  have  evidently  the  very  smallest  knowledge  of 
their  subject.  One  manual  states  on  cover  and  title-page  that  pen  and  ink  drawing 
is  “commonly  called  etching,”  showing  at  once  to  what  manner  of  audience  it  is 
addressed,  people  who  draw  with  pen  and  ink  on  antimacassars  and  call  it  etching, 
and  who  are  continually  asking  what  is  the  difference  between  a pen  drawing  and 
an  etching  anyway.  Some  idiot  art  editors  now  employ  hacks  to  make  etchings  for 
advertising  publications — I wonder  if  they  describe  the  ground-out  results  as  pen 
drawings.  If  Hamerton  and  Ruskin  have  not  been  able  to  show  this  elementary 
difference,  it  would  be  not  only  presumptuous,  but  a great  waste  of  paper  on  my 
part  to  quote  their  words.  However,  for  the  benefit  of  such  people,  to  whom  it 
probably  will  be  information,  I would  say  that  Pen  Drawing  is,  was,  and  ever  shall 
be,  drawing  with  a pen.  As  to  etching,  it  is  a method  of  engraving  on  a metal  plate 
described  in  the  volume  in  this  series  on  that  subject.  The  brush  also  may  be  used 
to  draw  with  as  the  Japanese  used  it  in  their  great  days. 

Neither  do  I propose  to  make  this  a treatise  on  drawing.  For  the  student  must 
know  not  only  something  of  drawing,  but  all  that  he  can  find  out  for  himself  about 
drawing,  before  good  work  can  be  done  with  the  pen.  Strange  as  it  may  seem  to  the 
crowds  who  have  flooded  the  world  with  pen  drawings,  the  same  qualities  which  go 
to  make  a good  pen  drawing  go  to  the  making  of  a good  etching.  The  only  advan- 
tage is,  that  instead  of  having  treacherous  materials  to  work  with,  you  have  the 
simplest  possible.  This  being  so  only  proves  the  great  difficulty  of  really  drawing 
well  with  the  pen.  When  one  has  seen  pen  and  ink  copies  of  woodcuts,  of  oil 
paintings  of  anything  and  everything  worked  out  with  an  awful  and  reverent, 
but  utterly  misplaced  and  wasted  soulfulness,  uplift  and  seriousness,  one  realizes 
that  pen  drawing,  like  etching,  is  one  of  the  most  facile,  least  understood,  and  most 
abused  of  the  arts. 


PREFACE 

I do  not  believe  with  one  of  the  few  men  who  have  already  written  of  Pen 
Drawing  that  he  or  any  one  else  can,  in  a book,  “teach  drawing  in  India  ink,  upon 
principles  so  easy  and  progressive  that  individuals  may  attain  this  pleasing  amuse- 
ment without  the  aid  of  a master”;  or  indeed,  unless  the  student  has  great  ability, 
with  his  aid,  though  in  this  land  of  license  we  have  correspondence  schools  which 
advertise  that  they  do  so — and  professors  who  preach  what  they  cannot  practise. 
But  the  average  person  today  must  be  told  what  to  do  and  how  to  do  it  and  that  it 
must  be  done  as  every  one  else  does  it.  Character  is  a curse — individuality  an  in- 
sult— but  what  else  can  you  expect  in  a world  made  safe  for  Hypocrisy!  But  I 
am  not  without  hope  that  the  pen  drawings  published  in  the  volume  will  show 
many,  who  are  pleased  to  call  themselves  pen  draughtsmen,  that  they  are  without 
the  faintest  idea  of  the  aims,  objects,  and  limitations  of  the  art;  as  well  as  bring  to 
the  notice  of  amateurs,  collectors,  critics,  editors,  engravers,  and  print-sellers  a 
healthy,  vigorous,  flourishing  craft  which  is  being  developed  and  improved  in  all 
its  branches. 

I have  selected  the  best  work,  so  far  as  I have  been  able  to  find  it,  of  all 
schools,  and  not  shown  one  narrow  French,  English,  Italian,  German,  Spanish,  or 
American  method,  the  merits  or  shortcomings  of  which  I would  be  unable  to  point 
out  without  using  this  comparative  plan.  Yet  unless  today  one  says  “we  are  the 
artists  of  the  world,”  and  proves  it  by  only  showing  the  work  of  local  geniuses,  one 
is  a traitor  to  art,  liable  to  be  called  a traitor  to  the  country,  because  the  country 
is  in  danger — our  American  country — from  the  sentimentalists,  the  religionists 
and  the  alienists,  who  infest  it,  have  overrun  it  to  gain  their  own  aims  and  fill  their 
own  pockets,  and  on  their  way  to  their  own  heaven  have  debased  and  debauched 
and  defiled  every  decent  thing  in  the  land,  including  art. 

Hamerton  called  pen  drawing  a “simple  process,”  and  some  people  may  un- 
wisely suppose,  therefore,  that  a simple  process  implies  an  easy  and  trifling  form 
of  art.  To  the  incipient  artist,  encouraged  by  the  financial  success  of  illustrating 
hacks,  I would  say : unless  you  feel  that  pen  drawing  is  something  to  be  reverenced, 
something  to  be  studied,  something  to  be  loved,  something  to  be  wondered  at,  that 
you  are  the  motive  power  behind  the  pen,  and  that  you  must  put  all  your  skill  and 
all  your  brains  and  all  your  technique  into  your  work,  you  will  never  become  a pen 
draughtsman.  And  you  should  be  prouder  to  illustrate  the  greatest  magazines  of 
the  world — alas!  they  are  hard  to  find  today — thus  appealing  to  millions  of 
readers,  than  have  your  drawings  buried  in  the  portfolios  of  a few  score  collectors, 
though  it  is  well  to  have  them  in  museums,  if  the  museums  are  allowed  to  exist 
in  the  future.  When  the  world  is  made  over  to  artlessness  and  lawlessness,  we  are 
on  the  verge  again  of  the  dark  ages,  and  only  mediocrity  is  safe.  Yet  I believe 
that,  in  these  days,  artists  who  show  their  work  to  the  people  through  the  press 
are  doing  as  did  the  masters  of  other  days,  who  spoke  to  the  people  through  the 
church,  only  the  people,  drugged  with  comics  and  movies,  know  what  they  want, 
not  what  the  artist  wants.  The  editors  want  what  will  pay. 


xi 


PREFACE 

Pen  drawing  is  the  most  simple,  the  most  direct,  even  the  cheapest  method 
of  illustrating  books,  magazines  and  papers.  Twenty-four  years  ago,  though  much 
more  expensive,  it  was  almost  universally  used,  together  with  the  dying  art  of 
reproductive  wood-engraving — now  it  is  far  less  used.  Pen  drawing  is  decorative 
and  appropriate  for  use  with  type  on  the  printed  page,  because  the  pen  line  har- 
monizes with  the  line  of  type,  and  the  two  go  well  together  and  form  when  prop- 
erly used  a harmonious  decorative  effect.  They  make  a complete,  perfect,  artistic 
whole.  It  is  the  most  simple  method  because  the  tools  are  the  most  simple, 
the  reproduction  is  most  direct,  and  pen  drawings  print  better  and  more  truly 
than  illustrations  made  in  any  other  manner.  The  cheapness  is  a fact  known  to 
all  publishers  and  printers.  It  is  not  used  because  a pen  draughtsman  requires 
training  and  practice  and  a love  of  his  art  and  a care  for  the  technical  require- 
ments of  it,  that  the  lily-white-handed  draughtsman  has  not  got  today — besides 
it  requires  ability  on  the  part  of  the  artist,  and  few  possess  these  indispensable 
requirements;  and  it  is  not  used  in  many  cases  because  the  pen  draughtsman 
wishes  to  be  paid  for  his  craft  work,  while  the  poor  painter,  poor  usually  in 
every  way,  will  give  his  work  to  the  grabbing  editor  for  the  advertisement 
of  seeing  his  work  in  print,  too  stupid  to  realize  that  the  workman  is  worthy 
of  his  hire;  too  stupid  to  know  that  great  artists  of  a generation  ago  made  fame 
and  fortune  by  the  reproduction  and  publication  of  their  drawings  and  prints; 
and  then,  too,  the  pen  draughtsman  had  a pride  in  his  work,  in  its  reproduction, 
which  he  looked  after,  and  its  printing  which  he  cared  for. 

The  painter  and  the  photographer  who,  for  the  moment,  are  supreme,  neither 
care  nor  know  anything  of  such  matters,  and  so  the  artful  art  editor  prefers  artless 
painters  and  art  photographers  who  do  not  bother  him  to  pen  draughtsmen 
who  would  make  his  life  a burden.  Even  if  they  won  an  international  fame  for 
his  journal — as  did  the  men  and  women  of  a generation  ago — cash  and  hustle 
are  the  editors’  sole  aims  and  ideals  today.  Tomorrow  if  anything  is  to  be  done 
in  art  he  must  return  to  good  methods  and  good  men,  and  my  hope  is  that  this 
book  may  be  an  aid  to  that  end. 

Finally,  it  is  not  the  fashion  to  use  pen  drawings,  and  there  are  fashions  in 
art  as  in  artless  things,  and  pen  draughtsmen,  too,  must  be  brilliant,  skilled  crafts- 
men— and  it  is  the  day  of  the  untrained  amateur  and  the  soulful  duffer  who 
appeal  to  a public  that  brought  up  on  the  comics  knows  what  it  likes — still  I 
know,  with  the  passing  of  this  artless  art-talking,  art-buying  age,  Pen  Drawing 
will  come  into  its  own  again,  for  art  is  everlasting,  eternal. 

All  this  I know  and  I believe,  but  at  the  present  Pen  Drawing  is  dormant; 
there  are  scarcely  any  Pen  Draughtsmen  in  the  country  worthy  of  the  name,  for 
incompetence  has  for  the  moment  triumphed  and  is  rampant.  The  great  editor, 
too,  has  disappeared  with  the  great  illustrator.  This  is  the  age  of  the  “commercial 
artist”  and  “the  ad  man”  and  “the  big  circulation  man”  and  “the  artist  with 
a message”  but  without  training. 

xii 


PREFACE 

It  is  incredible  that  those  who  run  the  magazines  do  not  see  that  it  would 
pay  them  better  to  use  pen  drawings  which  would,  with  vile  ink  and  rotten  press- 
work,  print  better  than  the  wash  drawings  they  do  use,  reproduced  by  half-tone, 
which  they  cannot  print  at  all;  yet  they  all  now  use  wash  and  oil  designs  made 
by  the  same  artless  gang,  in  the  same  artless  fashion;  but  their  messes  can  be 
messed  up  on  the  pages,  and  the  oafs  who  gloat  over  the  literature  love  the  art. 
But  why  any  American  editor  will  pay  double  for  the  reproduction  of  wash 
designs,  when  he  could  get  line  blocks  for  half  the  price,  no  one  but  the 
American  editor  and  publisher,  who  does  so,  can  understand.  He  does  it  to  be  in 
the  fashion,  and  the  fashion  again  is  coming  back  to  Pen  Drawing.  But  where 
are  we  going  to  find  the  Pen  Draughtsmen  ? This  book  shows  what  has  been 
done.  It  may,  I hope,  help  some  to  see  things  in  the  future  as  in  the  past.  God 
knows,  we  want  help  and  guidance  today  where  we  have  only  cocksure  ignorance; 
we  want  and  must  have  technical  schools  and  technical  education  and  a Minister  of 
Art  if  we  are  to  fight  the  world,  allies  and  enemies  of  war,  in  the  greater  world  war 
of  art  and  commerce  for  which  we  are  utterly  unprepared.  Yet  with  the  coming  of 
real  peace  it  will  be  upon  us,  and  we  are  utterly  unprepared  for  it.  And  remember 
you  can  make  an  army  of  millions  by  law — no  law  can  make  one  artist  or  crafts- 
man— only  proper  art  education,  and  we  have  none. 

The  make-up  of  the  book  and  the  arrangement  of  the  illustrations  in  it,  in 
many  cases,  are  very  objectionable  to  me.  I mean  the  blocks  being  larger  than 
the  letterpress,  cutting  holes  in  the  pages,  being  turned  around  on  them, 
“driving  through  them  like  a coach  and  four,”  as  William  Morris  once  said  to 
me  of  the  illustrations  in  American  magazines,  I do  not  like  at  all;  but  the 
object  of  this  book  is  to  show  the  best  illustrations  reproduced  in  the  best  manner 
by  the  best  process  work,  and  many  of  the  blocks  were  not  made  for  the  book, 
and  they  could  not  be  reduced  or  reproduced  again.  Therefore,  if  the  form  of 
the  book  is  not  always  good,  the  reproductions  are,  and  the  volume  is  intended 
for  students  of  drawing  and  engraving,  reproduction  and  printing. 

I wish  to  thank  all  the  artists,  collectors,  and  publishers  who  have  lent  me 
or  allowed  me  to  use  drawings  and  blocks.  But  this  would  mean  mentioning  near 
all  the  living  artists  included  and  all  the  well-known  publishers  and  printers.  I 
must,  however,  thank  some  who  have  given  more  than  contributions,  without 
which  the  book  could  not  have  been  made.  Among  them  are  C.  B.  Falls,  H.  Devitt 
Welsh,  J.  C.  Coll,  and  Edward  Warwick,  who  in  various  ways,  which  they  know 
and  I appreciate,  have  helped  in  the  making  of  this  book. 

PHILADELPHIA,  JULY  4TH,  1920,  ON  MY  BIRTHDAY  JOSEPH  PENNELL 

POSTSCRIPT  TO  PREFACE 

THIS  is  the  day  of  the  “Valor  of  Ignorance.”  It  has  been  pathetic  during  the 
making  of  the  book  to  discover  how  the  mighty  are  put  down  and  the  medio- 
cre are  exalted  in  our  midst.  Ignorance  is  rampant;  incompetence  glorified. 

xiii 


PREFACE 

Every  one  has  a message,  few  have  knowledge.  Doubtless  with  time  all  will  be 
well,  but  it  is  almost  certain  that  scarce  an  American  of  this  pushing,  advertising 
generation  will  be  remembered.  Notoriety  and  cash  are  the  all  in  all  of  America 
today.  The  little  men  who  draw — or  think  they  do — or  steal — are  backed  up  by 
little  men  who  write,  with  an  itch  for  new  things,  the  things  of  the  moment  that 
come  and  go  in  a moment.  Nothing  lasts,  nothing  is  permanent.  Everything  is 
undermined,  and  soon  not  only  our  country,  but  its  records,  will  vanish,  and  all 
that  will  remain  is  what  may  be  preserved  for  us  by  others  more  careful  of  our 
records  than  we  are.  I am  struck,  and  thoughtful  readers  must  be  struck  as 
they  turn  the  pages  of  the  book,  to  see  how  few  new  Pen  Draughtsmen  I have 
been  able  to  find.  It  is  a proof  that  Pen  Drawing,  though  vital,  is  difficult,  and 
what  the  modern  tries  for  is  to  avoid  difficulties — therefore,  he  avoids  Pen  Draw- 
ing. There  is  another  reason:  People  no  longer  care  for  art.  The  movies  and  the 
comics  have  replaced  it.  Nor  for  literature;  the  book  store  has  almost  disappeared 
in  America.  There  are  thousands  of  towns  without  one — thousands  with  only  one, 
and  many  others  only  have  books  in  the  mess  and  muddle  of  the  department 
shop,  where  they  are  treated  like  other  goods,  while  fifty  million  cultured  and 
educated  Americans  are  said  by  the  booksellers  not  to  own  a book.  Illustration 
has  gone,  too,  save  in  the  papers  and  magazines,  where  it  mostly  does  not  exist. 
The  war  wiped  out  international  literature;  no  longer  can  you  find  the  latest 
foreign  book  here  as  soon  as  issued  abroad.  And  in  Germany,  Italy  and  Austria, 
where  most  of  the  interesting  illustrated  books  came  from,  how  many  are  issued? 
Therefore,  I have  been  compelled  to  keep  chiefly  to  the  big  men  of  yesterday — 
but  they  are  big  and  they  live  and  their  influence  will  remain.  But  if  there  are  few 
new  men,  there  is  much  new  work.  Work  that  has  never  been  seen.  I have  made  a 
new  book  but  the  old  one  would  be  new  to  most  up-to-date  students.  I have  been 
amazed  at  the  appalling  ignorance  of  the  American  art  student,  art  teacher,  art 
lover.  Another  reason  for  the  decay  of  modern  illustration,  modern  bookmaking, 
is  because  most  authors  and  publishers  care  not  what  the  books  they  issue  look 
like.  They  are  only  made  to  sell.  As  one  publisher  said  to  me,  “We  don’t  sell 
books  by  numbers,  but  by  weight,”  and  they  are  scrapped  as  soon  as  possible. 
That  a book  should  be  beautiful  and  so  live  never  occurs  to  them.  The  mass  of 
publishers  do  not  even  know  how  to  sell  books.  Money  has  nearly  killed  art  and 
literature,  as  well  as  almost  everything  else  in  the  land.  Some  printers  rave  over 
old  work — rave  over  imitators  and  copyists  who  talk  learnedly  of  types  and  of 
title-pages.  Some  of  these  authorities  can  copy  a page  or  a font  fairly  well,  but 
when  they  design  a book,  illustrate  it  or  decorate  it,  they  fail  in  everything  save 
proving  that  they  can  preach  glibly  about  what  they  cannot  perform.  But  all  over 
the  country  there  are  printers  who  are  trying  to  improve  their  art,  and  this  must 
raise  the  standard  of  their  art. 

I have  lived  long  enough  to  see  America  lose  in  the  art  of  illustration,  the 
proud  position  she  once  held,  and  become  the  prey  of  the  business  man  and  ad 


XIV 


PREFACE 

man  and  the  editor  man,  who  are  fattening  on  what  is  called  art  in  our  country. 
Often  the  editors  have  to  become  Americanized  before  they  can  call  it  theirs,  but 
they  always  succeed  in  bringing  it  down  to  their  shop-keeping  level.  Ignorance 
has  darkened  the  land;  conceit  covers  it;  blatant  cocksureness  has  blinded  us. 
W e are  it,  because  we  do  not  know  what  it  is.  Because  we  have  no  standards,  no 
aims,  no  ambitions,  save  one  and  only  one — to  make  money,  and  that  is  so  easy 
to  make  if  one  has  time  to  do  it.  Our  great  monthly  magazines  are  echoes.  Our 
great  weeklies  are  gone.  Our  great  newspapers  as  organs  of  opinion  have  ceased 
to  exist;  as  examples  of  illustration  and  printing  they  are  pitiful,  though  the  best 
American  illustration  remaining  is  in  their  advertisements.  All  are  replaced  by  the 
most  middle  class,  commonplace  “vehicles  for  advertisement,”  for  “distributing 
big  business  cheaply” — only  so  much  literature  and  art  are  allowed  in  them  as 
will  pass  the  publications  through  the  mails.  But  art  and  literature  are  subordinate 
to  advertisement,  and  its  success  is  the  aim  and  ideal  of  those  who  lead,  while  the 
merits  of  the  “goods”  advertised  are  proclaimed  in  an  uplifting,  soul-yearning 
voice.  What  wonder,  then,  that  there  is  little  interest  in  finer  things,  in  better 
work?  We  are  told  that  fifty  millions  of  those  who  have  squatted  here  have  no 
books.  Yet  the  circulation  of  some  papers  is  said  to  be  two  millions.  What  do  the 
other  sixty  millions  do — or  what  is  done  for  them?  Other  barbarians  and  savages 
have  beliefs  and  ideals.  We  haven’t  even  drink  as  an  incentive,  and  since  pro- 
hibition came  in  the  country  has  degenerated  more  than  in  all  the  previous 
century.  The  world  was  saved  by  drink;  remember  Noah;  and  without  a “little 
wine”  we  can  have  no  art,  no  literature.  But  we  have  golf  and  craps,  so  all  is  well 
with  us.  We  are  told  that  the  Mahomedans  were  a dry  people,  and  when  they 
went  dry  their  great  art  disappeared  and  their  great  nation  fell  to  pieces,  and  they 
became  “the  sick  man  of  Europe,”  the  prey  of  parasites,  prigs  and  oil  kings  after 
the  death  of  Mahomet  the  first  prohibitionist — -he  allowed  polygamy — we  have 
permitted  divorce. 

It  is  inconceivable  from  the  business  point  of  view  that  the  American  business 
editor,  who  exists  because  he  has  so  much  to  draw  on  and  so  little  competition, 
cannot  see  that  it  would  pay  him  to  use  pen  drawings  which  could  be  reproduced 
for  half  the  sum  it  costs  to  reproduce  wash  and  oil  drawings,  and  does  not  do  so; 
but  what  does  he  care  so  long  as  he  makes  his  pile?  The  illustrators  make  wash 
and  oil  works  because  the  wishy-washy  tones  hide  the  rickety,  rubbishy  drawing, 
and  because  when  some  editors  began  to  use  them,  all  must  do  so,  as  they  use 
fatuous  females  and  bull-headed  hemales  on  their  colored  covers.  Imitation  is 
the  source  of  art  in  this  country.  Abroad  pen  drawings  have  always  been  used, 
save  in  the  lowest  type  of  magazines — equivalent  to  our  highest  today.  And 
once  our  prigging  editors  learn  this,  with  the  incoming  after-war  illustrated  jour- 
nals, Pen  Drawing  may  revive,  if  there  are  still  any  draughtsmen  in  the  land  to 
revive  it.  So,  as  I say,  for  the  good  of  others — as  I have  so  often  said — I am  bring- 
ing out  this  volume  to  show  what  has  been  done,  what  we  can  do,  and  what  we 


XV 


PREFACE 

should  do.  Despite  the  business  editor,  who  glories  in  the  pile  he  has  made, 
despite  the  wreck  and  ruin  of  art  and  literature  he  has  created,  the  wreck  of 
art  and  literature  he  has  left  for  the  future  to  restore — if  it  can.  I believe  it  will, 
and  I believe  his  mushroom  mediocrity  will  disappear,  as  it  was  spawned,  in  a 
night,  though  now  it  has  the  country  by  the  throat. 

I wish  to  exempt  the  publishers,  The  Macmillan  Co.,  and  the  printers,  The 
Franklin  Printing  Company,  who  have  aided  me,  from  any  charges  I have  made 
against  some  American  publishers  and  printers.  They  have  worked  well  and  faith- 
fully lor  the  book,  and  allowed  me  to  work  with  them — the  only  way  in  which 
good  work  ever  has  been  done,  ever  can  be  done,  ever  will  be  done.  In  most  cases 
the  manuscript  is  turned  over  by  the  author  to  the  publisher,  the  publisher  turns 
it  over  to  the  printer,  and  the  printer  turns  it  out.  But  in  this  book  publishers  and 
printers  have  worked  with  me  and  I have  worked  with  them.  And  for  this  I wish 
to  thank  Mr.  Kittredge  and  his  staff,  especially  Mr.  Lambdin,  who  devoted  most 
of  his  time  to  the  book  and  so  proved  his  interest  in  it;  Miss  Fodey ; and  the  press- 
men under  Mr.  Laughton,  who  took  a personal  pride  in  their  work  and  have  made 
a volume  which,  despite  its  defects,  we  are  proud  of,  and  it  is  a credit  to  American 
printing.  The  presswork  is  certainly  the  best  that  has  been  done  in  the  United 
States,  in  a book  of  this  sort.  It  has  been  a labor  of  love  to  work  with  such 
workmen — workmen  who  have  cared  for  their  work. 

I had  an  interesting  experience,  too,  with  the  photo-engravers,  especially  the 
Weeks  Photo-Engraving  Company,  who  really  tried.  But  there  is  no  use  denying 
it,  photo-engraving  is  not  to  be  compared  today  with  that  done  a quarter  of  a 
century  ago — and  the  book  proves  it.  The  reasons  are  simple.  The  engravers  then 
were  artists,  today  they  are  scientists  or  business  men.  Then,  they  strove  for  per- 
fection and  demanded  to  be  paid  well  for  their  work;  now,  they  are  members  of  a 
trust  and  have  their  scale  of  prices.  The  best  work  cannot  be  done  under  such  con- 
ditions. Art  is  nothing  to  most  of  these  people  who  rush  everything — and,  as 
Kipling  has  said,  “the  American  spends  half  the  time  another  would  take  to  do 
his  work  badly,  and  then  wastes  twice  as  long  explaining  why  it  is  bad,  instead 
of  doing  it  decently  at  first.”  Inches  and  not  art  are  their  standards.  Art  is  a 
commodity  and  treated  as  a necessary  evil,  and  if  your  drawings  are  not  ruined, 
lost  or  damaged  you  are  lucky.  The  slightest  difficulty  dismays  the  engraver  and 
the  most  commonplace  result  amazes  him.  Till  we  get  proper  craft  schools  Ameri- 
can engraving  will  continue  to  degenerate. 

One  other  matter  I wish  to  refer  to.  This  book  is  not  printed  on  the  shiny, 
coated  paper  deemed  necessary  in  the  United  States,  and  all  the  photogravures, 
blocks  and  text  are  printed  on  the  same  uncoated  paper  which  against  our  wishes 
was  made  too  thick — probably  at  a standardized  mill.  This  Series  is  the  first  to  be 
printed  in  this  way — not  a critic  has  noticed  this  advance  in  printing.  The  col- 
lector knows  the  book  is  better  than  other  books,  but  does  not  know  why.  It  is 
better,  and  the  reason  why  is  because  every  one  who  has  worked  on  the  book  has 


XVI 


PREFACE 


cared  about  it  and  worked  over  it,  not  tried  to  “manufacture”  it  as  cheaply  and 
as  quickly  as  possible,  and  to  shirk  all  the  difficulties  which  daily  dawned. 

I remember  when  with  Hamerton  on  A Summer  Voyage  on  the  Saone , he 
said  to  me,  “I  have  a public  who  read  my  books.”  As  a youth — that  was  the 
year  I wrote  the  beginning  of  Pen  Drawing — I thought  him  conceited.  He  was 
not,  he  knew  what  he  was  talking  about.  I now — grown  to  Hamerton’s  age, 
and  I hope  with  a wider  experience — have  a public  of  enemies  and  friends, 
envious  painters,  authors,  critics,  devoted  illustrators,  etchers,  lithographers, 
publishers,  printers.  I know  that  they  know  I am  trying  to  carry  on  tradition, 
trying  to  help  them  to  the  best  of  my  ability  for  their  good,  and  that  is  my  good. 
And  I have  endless  proofs  of  it  in  their  devotion  and  appreciation.  Not  from  them 
do  I hear  my  books  are  “too  expensive.”  Good  books,  well  illustrated,  well 
printed,  must  be  expensive,  and  besides  I can’t  afford,  and  don’t  want  to  work 
down  to  that  kind  of  lazy  lout  who  whines  to  be  uplifted  by  cheapness,  when  what 
he  wants  is  a boot  toe  to  do  it  with.  Laziness  and  meanness  are  cloaks  for  most  of 
the  soulfulness  and  sentiment  in  this  country. 

My  book,  from  Budapest  to  Tokio,  has  been  used  as  a text-book  and  in  a, 
to  me,  delightfully  battered  and  tattered  condition,  rebound  and  repatched,  can 
be  found  in  most  libraries  and  art  schools;  a tribute — even  the  fact  that  plates 
are  torn  out  of  it — to  my  work  that  no  canny  critic,  no  envious  imitator  can 
disturb.  I wish  I could  add  examples  of  more  modern  men— but  where  are  they? 
I have  included  all  I can  find  who  have,  I think,  character  necessary  for  inclusion, 
sadly  lacking  today  amongst  those  who  in  any  form  make  art  their  business, 
mostly  with  impudence  and  impertinence.  However,  go  forth,  my  expensive  book 
— you  have  been  made  for  those  who  care,  those  who  buy,  those  who  go  to  libra- 
ries to  consult.  As. for  the  whining,  begging  incompetents,  duffers,  critics,  editors, 
the  book  was  not  written  for  you — and  I never  will  work  down  to  you. 

The  list  of  publishers  who  have  furnished  me  with  blocks  or  permission  to 
use  drawings  or  prints  is  in  the  List  of  Illustrations. 

The  artists  whom  I would  also  thank  are  Franklin  Booth,  James  Guthrie, 
Rockwell  Kent,  W.  A.  Rogers;  and  the  Librarians  who  have  also  helped  are 
John  Ashhurst  of  the  Free  Library  of  Philadelphia,  Fitzroy  Carrington  of  the 
Boston  Museum,  F.  Weitenkampf  of  the  New  York  Public  Library,  Miss  Bergh 
of  the  Pennsylvania  School  of  Industrial  Art.  And  above  all  Messrs.  Macmillan, 
who  placed  the  making  of  the  book  in  my  hands,  let  me  do  it  as  I wished,  and  I 
am  proud  to  have  done  it,  and  am  responsible  for  it,  and  I am  not  ashamed  of  it. 


FINISHED  THANKSGIVING  DAY,  1920. 


J- 


CONTENTS 


PAGE 


GENERAL  PREFACE  . . . . . . • . . vil 

PREFACE  ............  IX 

LIST  OF  ILLUSTRATIONS  .........  XXI 

Chapter  I 

OF  PEN  DRAWING  IN  THE  PAST  ........  I 

Chapter  II 

OF  SPANISH  AND  ITALIAN  WORK  ........  21 

Chapter  III 

OF  PEN  DRAWING  IN  FRANCE  ........  57 

Chapter  IV 

OF  GERMAN  WORK  ..........  I27 

Chapter  V 

OF  DUTCH,  DANISH  AND  OTHER  WORK  ......  167 

Chapter  VI 

OF  PEN  DRAWING  IN  ENGLAND  ........  183 

Chapter  VII 

OF  PEN  DRAWING  IN  AMERICA  . . . . . . . 27 1 

Chapter  VIII 

OF  JAPANESE  ILLUSTRATION  ........  328 

Chapter  IX 

OF  THE  NEW  ILLUSTRATION  ........  337 

Chapter  X 

OF  NEWSPAPER  ILLUSTRATION  ........  349 

Chapter  XI 

OF  BOOK  DECORATION  .........  379 

Chapter  XII 

OF  MATERIALS  FOR  PEN  DRAWING  . . . . . . -413 

Chapter  XIII 

OF  TECHNICAL  SUGGESTIONS  FOR  PEN  DRAWING  .....  417 

Chapter  XIV 

OF  THE  REPRODUCTION  OF  PEN  DRAWINGS  ......  42I 


INDEX 


425 


LIST  OF  ILLUSTRATIONS  PHOTOGRAVURES  REPRODUCED  BY 
AM  AN  DURAN,  C.  DU  JARDIN,  THE  BERLIN  PHOTOGRAPHIC  COM- 
PANY AND  A.  & C.  DAWSON.  PRINTED  BY  PETERS  BROTHERS. 


FACING  PAGE 


D.  MARTIN  RICO:  THE  LITTLE  TOWER  ..... 
Drawing  made  for  this  book. 

41 

A.  CASANOVA  Y ESTORACH:  THE  MONK  .... 

Drawing  made  for  this  book. 

48 

leon  l’hermitte:  the  ragpickers  ..... 

Plate  published  in  The  Portfolio. 

64 

ADOLPH  MENZEL:  A GERMAN  GENERAL  .... 

Drawing  loaned  by  the  Modern  Gallery  of  Art,  Berlin. 

128 

FREDERICK  LORD  LEIGHTON:  SAMSON  CARRYING  OFF  THE  GATES 
Original  drawing  lent  by  Dalziel  Brothers. 

I84 

FREDERICK  SANDYS : AMOR  MUNDI  ..... 

From  the  unengraved  wood  block.  Lent  by  Joseph  Swain. 

192 

FRED  WALKER:  THE  VAGRANTS  ...... 

From  the  original  drawing  lent  by  J.  P.  Heseltine. 

208 

ALFRED  PARSONS:  TITLE-PAGE  TO  “SHE  STOOPS  TO  CONQUER” 
Original  drawing  lent  by  the  artist. 

214 

E.  a.  abbey:  from  “she  stoops  to  conquer”  . 

Original  drawing  lent  by  the  artist. 

280 

ROBERT  BLUM*.  PORTRAIT  OF  JO  JEFFERSON 
From  original  drawing  owned  by  the  author. 

300 

ILLUSTRATIONS  IN  LINE,  HALF-TONE  AND  WOOD 
IN  THE  TEXT 

NO. 

ENGRAVING 

PAGE 

I.  GENTILE  BELLINI  ......... 

Drawing  of  a Turk  made  at  Constantinople.  Process  block  by  the  Swan  Electric  Engraving  Company. 
Drawing  in  the  Print  Room,  British  Museum. 

5 

2.  TITIAN:  LANDSCAPE  ....... 

Process  block;  unsigned.  Gazette  des  Beaux  Arts. 

. 

6 

3.  MAXIME  LALANNE  ......... 

La  Porte  St.  Antoine.  Process  block;  unsigned.  La  Hollande  a Vold'Oiseau,  by  H.  Havard,  Quantin. 

7 

4.  ALBERT  DURER:  STUDY  FOR  A FIGURE  .... 
Process  block;  unsigned.  Life  of  Purer,  by  C.  Ephrussi,  Quantin. 

8 

5.  D.  G.  ROSSETTI:  STUDY  OF  A HEAD  ...... 

Wood-engraving  by  J.  D.  Cooper.  English  Illustrated  Magazine. 

6.  durer’s  “apollo”  ......... 

Process  block  by  the  Swan  Electric  Engraving  Company.  Drawing  in  the  Print  Room,  British  Museum 

7.  VANDYKE:  HEAD  OF  A CHILD  .......  12 

Process  block;  unsigned.  Antoine  Vandyke;  Sa  Vie  et  son  Oeuvre , by  Jules  Guiffrey,  Quantin. 

8.  LOUIS  DESMOULINS:  PORTRAIT  OF  M.  JUNDT  .....  13 

Process  block;  unsigned.  La  Vie  Moderne. 

9.  LOUIS  DESMOULINS:  PORTRAIT  OF  GEORGES  OHNET  13 

Process  block;  unsigned.  The  same. 

10.  LOUIS  galice:  portrait  of  mme.  madraso  ....  14 

Process  block;  unsigned.  From  the  same. 

11.  VANDYKE:  HEAD  OF  SNYDERS  .......  14 

Process  block;  unsigned.  Antoine  Vandyke,  etc. 

12.  CLAUDE  LORRAINE:  ENTRANCE  TO  A PORT  .....  15 

Process  block;  unsigned.  L’ Art. 


9 

10 


XXI 


LIST  OF  ILLUSTRATIONS 


NO.  PAGE 

13.  CLAUDE  LORRAINE*.  LANDSCAPE  DRAWING  .....  l6 

Process  block;  unsigned.  From  the  same. 

14.  REMBRANDT!  LANDSCAPE  ........  17 

Process  block;  unsigned.  Gazette  des  Beaux  Arts. 

15.  REMBRANDT:  HEAD  OF  AN  OLD  MAN  ......  17 

Process  block;  unsigned.  From  the  same. 

16.  REMBRANDT:  THE  UNFAITHFUL  SERVANT  .....  l8 

Process  block;  unsigned.  L' Art. 

17.  REMBRANDT:  STUDY  OF  A BOY  .......  19 

Process  block;  unsigned.  From  the  same. 

18.  REMBRANDT:  PEN  AND  INK  STUDY,  A PIG  LYING  DOWN  ...  20 

Process  block;  unsigned.  From  Rembrandt ; His  Life  and  Work , by  Emile  Michel,  Heinemann. 

19.  REMBRANDT*.  ETCHING  OF  PIG  LYING  DOWN  .....  20 

Process  block;  unsigned.  From  the  same. 

20.  F.  GOYA  Y LUCENTES:  THE  GARROTED  ......  26 

Process  block;  unsigned.  Drawing  in  the  British  Museum. 

21.  F.  GOYA:  STUDY  OF  HEADS  ........  27 

Process  block;  unsigned.  Drawing  in  British  Museum. 

22.  MARIANO  FORTUNY:  A MAN  READING  ......  29 

Process  block;  unsigned.  L’ Art. 

23.  MARIANO  FORTUNY*.  PORTRAIT  . . . . . -30 

Wood-engraving  by  A.  Leveille. 

24.  DANIEL  VIERGE  ..........  32 

Process  block  by  Gillot.  From  Pablo  de  Segovie,  by  Francisco  de  Quevado,  Unwin. 

25.  DANIEL  VIERGE:  MONKS  HEAD  .......  33 

Process  block;  unsigned.  From  the  same. 

26.  DANIEL  VIERGE  ..........  34 

Process  block  by  Gillot.  From  the  same. 

27.  DANIEL  VIERGE  ..........  35 

Process  block;  unsigned.  From  the  same. 

28.  G.  FAVRETTO:  STUDY  .........  36 

Process;  unsigned.  Gazette  des  Beaux- Arts . 

29.  A.  MONTALTI:  PEN  DRAWING  ON  SCRATCH  PAPER  ....  37 

Process  block  by  Fratelli  Treves  of  Milan.  From  C’era  una  Volta , by  Luigi  Capuana,  Fratelli  Treves. 

30.  MARTIN  RICO:  A CORNER  OF  ST.  MARKS  . . . ■ • 39 

Process  block  by  Waterlow  & Sons,  Ltd.  Drawing  made  for  this  book. 

31.  MARTIN  RICO:  A STUDY  ........  4O 

Process  block;  unsigned.  La  Vie  Moderne. 

32.  MARTIN  RICO:  A STUDY,  VENICE  .......  41 

Process  block  by  Waterlow  & Sons,  Limited.  Drawn  for  this  book. 

33.  MARTIN  RICO:  REMINISCENCE  OF  SEVILLE  .....  44 

Process  block;  unsigned.  Ilustracion  Espanola  y Americana. 

34.  MARTIN  RICO*.  A VENETIAN  CANAL  . . . . . . .45 

Process  block;  unsigned.  From  the  same. 

35.  A.  FABRES:  A ROMAN  PEASANT  .......  47 

Process  block  by  Angerer  & Goschl.  L' Art. 

36.  A.  CASANOVA  Y ESTORACH:  STUDY  ......  48 

Process  block  by  Yves  & Barret.  L' Art. 

37.  A.  CASANOVA  Y ESTORACH:  TWO  MONKS  .....  49 

Process  block  by  Gillot.  L' Art. 

38.  A.  CASANOVA  Y ESTORACH:  A MONK  ......  50 

Process  block;  unsigned.  Paris  Illustree. 

xxii 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

39.  A.  CASANOVA  Y ESTORACH*.  THE  CARDINAL  . . . . -51 

Process  block;  unsigned.  L' Art. 

40.  b.  galifore:  study  of  a peasant’s  head  .....  52 

Process  block;  unsigned.  Libraire  de  L' Art. 

41.  J.  GARCIA  Y RAMOS:  GYPSY  DANCE  ......  54 

Process  block;  unsigned.  Blanco  y Negro. 

42.  ALBERTO  MARTINI:  REFLECTIONS  .......  55 

Process  block;  unsigned.  Raw  Edges,  by  Percival  Landon,  Heineman. 

43.  ALBERTO  MARTINI:  WITCHES  .......  56 

Process  block;  unsigned.  From  a catalogue  of  the  artist’s  exhibition. 

44.  J.  L.  E.  meissonier:  les  deux  jouers  .....  62 

Wood  block  by  H.  Lavoignat.  Le  Magazin  Pittoresque. 

45.  J.  L.  e.  meissonier:  l’enfant  intrepide  .....  62 

Process  block  by  Angerer  & Goschl.  From  Les  Contes  Remois. 

46.  J.  L.  e.  meissonier:  les  cinq,  layettee  .....  63 

Process  block  by  Angerer  & Goschl.  From  the  same. 

47.  J.  L.  E.  MEISSONIER:  DE  PAR  LE  ROI  ......  63 

Process  block  by  Angerer  & Goschl.  From  the  same. 

48.  J.  L.  E.  meissonier:  le  bon  cousin  ......  64 

Process  block  by  Angerer  & Goschl.  From  the  same. 

49.  EDOUARD  DETAILLE:  l’aLERTE  .......  65 

Process  block  by  Yves  & Barret.  L’ Art. 

50.  EDOUARD  DETAILLE".  THE  PASSING  REGIMENT  ....  66 

Process  block;  unsigned.  From  the  same. 

51.  MADELEINE  LEMAIRE : LA  MARCHANDE  DE  VIOLETTES  ...  67 

Process  block  by  Angerer  & Goschl.  From  the  Catalogue  of  the  Societe  d’ Aquarellistes  Fran^ais,  1888. 

52.  E.  dantan:  corner  of  a studio  ......  69 

Process  block  by  Angerer  & Goschl. 

53.  P.  g.  jeanniot:  kiosque  at  night  ......  70 

Process  block;  unsigned.  La  Vie  Moderne. 

54.  P.  G.  jeanniot:  soldiers  drilling  ......  71 

Process  block;  unsigned.  From  the  same. 

55.  F.  LUNEL:  LA  SEINE  a PARIS LE  LA  VOIR  AUX  CHIENS  ...  72 

Process  block  by  Gillot.  Revue  Illustree. 

56.  F.  LUNEL:  A STUDY  .........  73 

Process  block.  La  Vie  Moderne. 

57.  J.  L.  FORAIN  75 

Woodcut  engraving  by  Florian.  Revue  Illustree. 

58.  MAXIME  LALANNE:  ROERMOND,  VUE  DU  MARCHE  ....  76 

Process  block;  unsigned.  Havard's  Hollande  Quantin. 

59.  MAXIME  LALANNE:  ZUTPHEN  .......  76 

Process  block;  unsigned.  From  the  same. 

60.  MAXIME  LALANNE:  KAMPEN,  EGLISE  ST.  NICHOLAS  ...  77 

Process  block;  unsigned.  From  the  same. 

61.  H.  SCOTT:  CLOCK  TOWER  OF  CHANTILLY  .....  77 

Process  block;  unsigned.  La  Vie  Moderne. 

62.  H.  SCOTT:  PIERREFONDS  ........  78 

Process  block  by  Angerer  & Goschl.  La  Vie  Moderne. 

63.  MARS:  PIERROT  BLANC  ET  PIERRETTE  NOIR  .....  79 

Process  block;  unsigned.  From  the  same. 

64.  ST.  ELME  GAUTIER:  LA  GENIE  DES  ARTS  .....  80 

Process  block  by  Angerer  & Goschl.  L' Art. 

xxiii 


LIST  OF  ILLUSTRATIONS 


NO. 

65- 

LEON  gaucherel:  sarpedon 

Process  block  by  Yves  & Barret.  From  the  same. 

PAGE 

8l 

66. 

RINGEL  D’lLLZACH:  HEAD  OF  DE  LESSEPS  ..... 

Drawing  in  crayon  and  ink  on  scratch  paper.  Process  block;  unsigned.  L' Art. 

82 

67. 

MARIE  WEBER*.  TETES  d’aNGES 
Process  block;  unsigned.  From  the  same. 

83 

68. 

AUGUSTE  RODIN!  STUDY  .... 

Process  block;  unsigned.  From  drawing  in  the  Metropolitan  Museum. 

85 

69. 

AUGUSTE  RODIN:  STUDY  .... 

Process  block;  unsigned.  L' Art. 

85 

70. 

CARAN  D’ACHE:  UN  ONCLE  A HERITAGE 
Process  block  by  Michelet.  Revue  Illustree. 

. 

87 

7i- 

A.  LALAUZE,  OR  LOUIS  LELOIR : STUDY  OF  A FIGURE 
Process  block  by  Yves  & Barret.  L’ Art. 

IN  PEN  AND  PENCIL 

88 

72. 

ULYSSE  BUTIN*.  AU  CABARET 
Process  block  by  Angerer  & Goschl.  L' Art. 

89 

73- 

carloz  schwabe:  tailpiece 

Process  block;  unsigned.  Le  Reve,  by  Emile  Zola  Flammarion. 

90 

74- 

carloz  schwabe:  key  block  of  a design  for 

Reproduced  by  Verdoux,  Ducourlioux  & Huillard.  From  the  same. 

COVER 

9i 

75- 

CARLOZ  schwabe:  la  nativite  . 

Process  block  by  Verdoux,  Ducourlioux  & Huillard.  Revue  Illustree. 

92 

76. 

CARLOZ  SCHWABE:  L’ETOILE  DES  BERGERS 
Process  block  by  Verdoux,  Ducourlioux  & Huillard.  Revue  Illustree. 

93 

77- 

CARLOZ  SCHWABE  ..... 

Process  block;  unsigned.  Le  Reve. 

94 

78. 

JULES  jacquemart:  LANDSCAPE  . 

Process  block;  unsigned.  La  Vie  Moderne. 

96 

79* 

JULES  JACQUEMART:  ITALIAN  HELMET  . 
Process  block  by  Gillot.  L'Histoire  de  Mobilier. 

97 

80. 

JULES  JACQUEMART:  IVORY  CABINET 
Process  block  by  Gillot.  From  the  same. 

97 

81. 

JULES  JACQUEMART:  ARM-CHAIR  OF  WOOD 
Process  block  by  Gillot.  From  the  same. 

98 

82. 

JULES  JACQUEMART:  SIDEBOARD  . 
Process  block  by  Gillot.  From  the  same. 

98 

83  and  84.  a.  lancon:  cats  .... 

Process  blocks;  unsigned.  La  Vie  Moderne. 

99 

85. 

E.  GRASSET*.  LES  FETES  DE  PARIS 
Process  block  by  Gillot.  L' Art  et  L'Idee. 

100 

86. 

E.  GRASSET:  “ UN  DUEL  JUDICIAIRE” 
Key  process  block;  unsigned.  Paris  Illustree. 

IOI 

U 

00 

EDOUARD  MANET:  THE  RAVEN 
Process  block  by  Weeks  Photo-Engraving  Company. 

102 

88. 

EDOUARD  MANET:  PORTRAIT 
Process  block  by  Weeks  Photo-Engraving  Company. 

103 

89. 

EUGENE  COURBOIN:  l’eNFANT  TERRIBLE 

Key  process  block  by  Michelet.  Revue  Illustree. 

104 

90. 

A.  willette:  LE  PIERROT  .... 
Process  block;  unsigned.  From  the  same. 

105 

91. 

BOUTET  DE  MONVEL  ..... 

106 

Process  block;  unsigned.  From  Chansons  de  France  pour  les  Petits  Fram;ais,  Hachette. 


XXIV 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

9 2.  BOUTET  DE  MONVEL:  TITLE  .......  106 

Process  block;  unsigned.  From  the  same. 

93.  godefroy:  a tourist  ........  107 

Process  block  by  Michelet.  Revue  Illustree. 

94.  JULES  brisson:  the  senator  .......  108 

Process  by  Yves  & Barret.  L' Art. 

95.  J.  F.  RAFFAELLi:  HOMME  DU  PEUPLE  ......  109 

Process  block;  unsigned.  Gazette  des  Beaux-Arts. 

96.  J.  F.  RAFFAELLI:  NURSES  IN  THE  TUILERIES  GARDEN  . . .110 

Process  block;  unsigned.  From  Types  d' Paris. 

97.  J.  B.  COROT:  LANDSCAPE  . . . . . . . .Ill 

Process  block;  unsigned.  La  Vie  Moderne. 

98.  LOUIS  MORIN  . . . . . . . . . .112 

Process  block;  unsigned.  L’ Art  et  L'Idee. 

99.  LOUIS  MORIN:  VENICE  . . . . . . . .112 

Woodcut;  unsigned.  Revue  Illustree. 

100.  HENRI  RIVIERE:  SILHOUETTE  . . . . . . . II3 

Process  block  by  the  Swan  Electric  Engraving  Company.  Les  Premiers  Illustree. 

101.  FELIX  vallotin:  a burial  . . . . . . .113 

Woodcut  by  the  artist.  L' Art  et  L'Idee. 

102.  P.  PUVIS  DE  CHAVANNES:  SWINEHERD  . . . . II4 

Process  block;  unsigned.  La  Vie  Moderne. 

103.  H.  TOULOUSE  LAUTREC:  LA  PETITE  BONNE  . . . . II5 

Process  block;  unsigned.  La  Vie  Moderne. 

104.  J.  BASTIEN  LEPAGE:  STUDY  . . . . . . . Il6 

Process  block;  unsigned.  La  Vie  Moderne. 

105.  J.  BASTIEN  LEPAGE:  PORTRAIT  OF  EDWARD  VII  WHEN  PRINCE  OF  WALES  II7 
Process  block  by  Weeks  Photo-Engraving  Company. 

106.  LOUIS  leloir:  study  of  a figure  . . . . . .118 

Process  block;  unsigned.  L' Art. 

107.  M.  RENOIR:  ELLE  VALASIT  . . . . . . II9 

Process  block;  unsigned.  La  Vie  Moderne. 

108.  PAUL  RENOUARD:  THE  COPYIST  .......  120 

Process  block;  unsigned.  From  the  same. 

109.  PAUL  RENOUARD:  STUDY  ........  121 

Process  block;  unsigned.  L’ Art. 

no.  henner:  the  idyll  ........  122 

Process  block;  unsigned.  From  the  same. 

111.  E.  MARTY:  A l’oPERA  ........  I23 

Process  block;  unsigned.  La  Vie  Moderne. 

1 12.  h.  gerbault:  the  serenaders  ......  124 

Process  block;  unsigned.  Revue  Illustree. 

113.  F.  STEINLEN:  MARCHE  DES  DOS  ......  I25 

Process  block;  unsigned.  From  Dans  la  Rue,  by  A.  Bruant.  Marpon  & Flammarion. 

1 14.  F.  STEINLEN:  TAILPIECE  ........  I25 

Process  block;  unsigned.  From  the  same. 

1 15.  MLLE.  HERWEGEN:  THE  FONT  . . . . . . 126 

Process  block;  unsigned.  L’ Art. 

1 16.  A.  menzel:  sentinel  on  duty  ......  132 

Process  block  from  a pen  drawing  on  stone;  unsigned.  From  Uniforms  of  the  Army  of  Frederick  the 
Great,  published  in  Les  Maitres  Moderne s. 

1 17.  a.  menzel:  drum-major  ........  133 

From  the  same. 


XXV 


LIST  OF  ILLUSTRATIONS 

NO.  . PAGE 

118.  a.  menzel:  studies  of  costume  ......  134 

From  the  same. 

1 19.  A.  MENZEL!  PORTRAIT  OF  KARL  VON  WINTERFELDT  . . . 135 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  The  Heroes  in  Peace  and  War  of 
Frederick  II. 

120.  H.  schlittgen:  head  of  officer  ......  136 

Process  block;  unsigned.  From  Ein  Erster  und  ein  Letzter  Bal,  by  Hacklander,  Carl  Krabbe. 

1 2 1 . h.  schlittgen:  at  trouville  .......  137 

Process  block;  unsigned.  From  Trouville , by  Hacklander,  Carl  Krabbe. 

122.  W.  DIETZ:  REVELLERS  ........  138 

Process  block;  unsigned.  From  Kunst  fur  Alle. 

123.  W.  DIETZ:  PORTRAIT  .........  138 

Wood-engraving  by  Gehrig.  From  Fliegende  Blatter. 

124.  ROBERT  HAUG:  SALUTING  AN  OFFICER  .....  139 

Process  block;  unsigned.  From  Ein  Schloss  in  den  Ardennen,  by  F.  W.  Hacklander,  Carl  Krabbe. 

125.  HERMANN  LUDERS:  A REVIEW  . ..  . . . . . I40 

Process  block  by  Angerer  & Goschl.  From  Ein  Soldatenleben , etc.,  by  H.  Luders,  Deutsche  Verlags 
Anstalt. 

126.  a.  oberlander:  the  doctor  .......  141 

Wood-engraving  by  Roth.  From  Oberlander’s  collection  of  sketches. 

127.  a.  oberlander:  heading  .......  142 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  Fliegende  Blatter. 

128.  LUDWIG  marold:  sketch,  three  girls  .....  143 

Process  blocks;  unsigned.  From  Zwischen  Zwei  Regen,  by  F.  W.  Hacklander,  Carl  Krabbe. 

129.  ALBERT  RICHTER  .........  I44 

Process  block;  unsigned.  From  Universum. 

130.  ALBERT  RICHTER  .........  I44 

Process  block;  unsigned.  From  the  same. 

131.  HERMANN  VOGEL:  LANDSCAPE  .......  I45 

Process  block;  unsigned.  From  the  Revue  Illus tree. 

132.  HERMANN  VOGEL:  SALON,  INTERIOR  ......  I45 

Process  block;  unsigned.  From  the  same. 

133.  HERMANN  VOGEL:  CORTESIA  .......  I47 

Process  block;  unsigned.  From  the  same. 

134.  A.  STUCKi:  A CUP  .........  148 

Process  block  by  Meisenbach.  From  Das  Deutsche  Zimmer , G.  Hirth. 

135.  j.  sattler:  the  dance  of  death  ......  150 

Process  block  by  Weeks  Photo-Engraving  Co. 

136.  SCHMIDT-HELMBRECHTS:  SPRING  ......  1 5 1 

Process  block;  unsigned.  Jugend. 

137.  e.  pascin:  the  support  of  the  family  .....  152 

Process  block;  unsigned.  Simplicissimus. 

138.  o.  gulbransson:  the  brother’s  visit  .....  153 

Process  block;  unsigned.  From  the  same. 

139.  a.  schmidhammer:  the  big  cap  ......  154 

Process  block;  unsigned.  Jugend. 

140.  HEINRICH  KLEY:  BACCHUS  .......  155 

Process  block;  unsigned.  Simplicissimus. 

141.  BRUNO  PAUL*.  THE  BATH  HOUSE  ......  I56 

Process  block;  unsigned.  From  the  same. 

142.  A.  weisgerber:  EVOLUTION  .......  157 

Process  block;  unsigned.  From  the  same. 


XXVI 


LIST  OF  ILLUSTRATIONS 


143.  o.  gulbransson:  sir  Edward’s  new  year’s  programme 

Process  block;  unsigned.  Simp/icissimus. 

144.  FRANZ  VON  STUCK:  DEATH  OF  THE  EMPEROR  WILLIAM 
Process  block  by  the  Swan  Electric  Engraving  Company.  Fliegende  Blatter. 

145.  FRANZ  VON  STUCK:  PUCK  DRIVING  A CENTAUR  .... 
Process  block;  unsigned.  Kunst fur  Alle. 

146.  A.  munzer:  the  colonial  lady  ...... 

Process  block;  unsigned.  Jugend. 

147.  MAX  KLINGER:  EINE  LIEBE  ....... 

Process  block,  by  Wilhelm  Hoffmann,  Dresden. 

148.  WILHELM  LEIBL:  PORTRAIT  ....... 

Process  block  by  Angerer  & Goschl.  Kunst  fur  Alle. 

149.  RUDOLPH  WILKE:  THREE  BLIND  MEN  ...... 

Process  block;  unsigned.  Simplicissimus. 

150.  HANS  TEGNER  . . ... 

Process  block;  unsigned.  From  Ludvig  Holberg’s  Comedies. 

151.  HANS  TEGNER  .......... 

Process  block;  unsigned.  From  the  same. 

152.  HANS  TEGNER  .......... 

Wood-engraving  by  A.  Bork.  From  the  same. 

153.  HANS  TEGNER  .......... 

Wood-engraving  by  F.  Hendriksen.  From  the  same. 

154.  HANS  TEGNER:  LANDSCAPE  ....... 

Wood-engraving  by  F.  Hendriksen.  From  the  same. 

155.  HANS  TEGNER:  STUDY  OF  TWO  HEADS  . . . . . 

Wood-engraving  by  F.  Hendriksen.  From  the  same. 

156.  P.  DE  JOSSELIN  DE  LONG:  DAN  VOCHT  ZIG  SOMS  NECT  DE  KNECHTS 

Process  block;  unsigned.  Elsevier. 

157.  CARL  LARSON:  CHRISTMAS  ........ 

Process  block  by  Weeks  Photo-Engraving  Company. 

158.  JAN  A.  toorop:  the  three  brides  ...... 

Process  block;  unsigned.  Kunst  fur  Alle. 

159.  A.  edelfelt:  head  of  peasant  ...... 

Wood-engraving;  B.  Bande. 

160.  FRANTS  HENNINGSEN:  THE  FOSTER  MOTHER  . . . . 

Process  block  by  Angerer  & Goschl.  Ude  Og  Hjemme. 

161.  A.  EDELFELT:  GRUPPE  AF  EN  GUDSTJENESTE  I DER  NYLANDSKE 

SKAERGAARD  .......... 

Process  block  by  Angerer  & Goschl.  From  the  same. 

162.  THOR  LANGE:  RUSSISK  MANDSTYPE  ...... 

Process  block  by  Angerer  & Goschl.  From  the  same. 

163.  o.  a.  hermanson:  monkeys  ....... 

Process  block  by  Angerer  & Goschl.  From  the  same. 

164.  T.  PETERSEN:  LANDSCAPE 

Process  block  by  Angerer  & Goschl.  From  the  same. 

165.  PAUL  konewka:  SILHOUETTE  ....... 

Process  block;  unsigned.  Source  unknown. 

166.  D.  G.  ROSSETTI:  THE  PALACE  OF  ART  . . . . . 

Engraved  by  Dalziels.  From  Moxon’s  Tennyson’s  Poems. 

167.  FORD  MADOX  BROWN:  ELIJAH  AND  THE  WIDOW’S  SON  . 

Process  block  by  A.  & C.  Dawson.  Drawing  in  Victoria  and  Albert  Museum. 

xxvii 


PAGE 

158 

159 

160 
l6l 
163 

165 

166 
168 

169 

170 
171 
172 

173 

174 

175 

176 

1 77 

178 

179 

180 

181 

181 

182 
187 
189 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

X68.  FREDERICK  SANDYS  .........  I90 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  drawing  on  the  wood  block  lent  by 
Geo.  L.  Craik,  Esq. 

169.  SIR  E.  J.  POYNTER,  P.  R.  A.:  DANIEL’S  PRAYER  ....  I9I 

Process  block  by  Walker  & Boutall.  From  drawing  owned  by  Messrs.  Dalziel.  Bible  Gallery. 

170.  SIR  EDWARD  BURNE-JONES,  A.  R.  A.:  THE  PARABLE  OF  THE  BOILING 

POT  ...........  I92 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  drawing  lent  by  Sir  Edward  Burne  Jones. 

171.  FREDERICK  SANDYS:  STUDIES  FOR  AMOR  MUNDI  ....  I94 

Process  block  by  Angerer  & Goschl.  From  a photograph  by  Frederick  Hollyer.  Lent  by  Lord  Battersea. 

172.  FREDERICK  SANDYS:  AMOR  MUNDI  ......  I95 

Process  block  by  Angerer  & Goschl.  From  a photograph  by  Frederick  Hollyer.  The  wood-engraving 
published  in  the  Shilling  Magazine  for  April,  1865,  was  done  from  this  study.  Lent  by  Lord  Battersea. 

173.  LORD  LEIGHTON,  P.  R.  A.:  SAMSON  AT  THE  MILL  ....  I96 

Process  block  by  Angerer  & Goschl.  From  the  drawing  in  the  Art  Library,  South  Kensington  Museum. 

A wood-engraving,  by  Messrs.  Dalziel,  was  published  in  their  Bible  Gallery. 

174.  A.  BOYD  HOUGHTON  .........  1 97 

Process  block  by  Walker  & Boutall.  From  the  original  drawing,  by  permission  of  Fairfax  Murray,  Esq. 

175.  D.  G.  ROSSETTI:  MISS  SIDDAL  .......  I99 

Process  block  by  Angerer  & Goschl.  From  a photograph  of  the  original  drawing  in  the  Victoria  and 
Albert  Museum. 

176.  SIR  j.  E.  MILLAIS,  P.  R.  A.:  A STUDY  FOR  “OPHELIA”  . . . 200 

Process  block  by  Angerer  & Goschl.  From  the  drawing  in  the  possession  of  the  author. 

177.  J.  MAHONEY  ..........  201 

Process  block  by  Walker  & Boutall.  From  the  drawing,  by  permission  of  Fairfax  Murray,  Esq. 

178.  F.  WALKER,  A.  R.  A.:  THE  FISHMONGER  .....  202 

Process  block  by  Angerer  & Goschl.  From  the  drawing  on  the  wood  at  the  Victoria  and  Albert  Museum. 

179.  G.  J.  PINWELL  ..........  203 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  the  drawing  in  the  possession  of  the 
author. 

180.  A.  BOYD  HOUGHTON  .........  204 

Process  block  by  Angerer  & Goschl.  From  the  drawing  in  the  possession  of  the  author. 

1 81 . CHARLES  GREEN  .........  204 

Process  block  by  Walker  & Boutall.  From  the  drawing  by  permission  of  Fairfax  Murray,  Esq. 

182.  E.  w.  burgess:  “st.  SIMEON  stylites”  .....  205 

Process  block  by  Angerer  & Goschl.  From  a photograph  by  Frederick  Hollyer  of  the  original  drawing. 

183.  J.  W.  NORTH,  A.  R.  A.:  HOLFORD  GLEN  .....  206 

Process  block  by  Angerer  & Goschl.  English  Illustrated  Magazine. 

184.  J.  MAHONEY  ..........  207 

Process  block  by  Angerer  & Goschl.  From  the  drawing  in  the  possession  of  the  author. 

185.  F.  shields:  the  death  CART  .......  210 

Process  block  by  Angerer  & Goschl.  From  a photograph  of  the  original  drawing.  The  Plague,  Defoes. 

186.  SIR  GEORGE  REID,  P.  R.  S.  A.:  MONTROSE  . . . . .211 

Process  block  by  Angerer  & Goschl.  From  the  original  drawing.  First  published  in  a Memoir  of 

the  late  G.  P.  Chalmers , R.  S.  A. 

187.  D.  Y.  CAMERON:  LANDSCAPE  . . . . . . .211 

Process  block  by  Weeks  Photo-Engraving  Company.  Loaned  by  F.  Keppel  & Co. 

188.  MUIRHEAD  BONE*.  VENICE  ........  212 

Process  block  by  Weeks  Photo-Engraving  Company.  Loaned  by  F.  Keppel  & Co. 

189.  ALFRED  PARSONS:  MARSTON  SICCA  ......  213 

Wood-engraving  by  J.  D.  Cooper.  English  Illustrated  Magazine. 

190.  ALFRED  PARSONS:  FIELD  THISTLE  ......  213 

Wood-engraving  by  J.  D.  Cooper.  From  the  same. 

xxviii 


LIST  OF  ILLUSTRATIONS 

MO.  PAGE 

191.  ALFRED  PARSONS:  AN  OLD  GARDEN  ......  214 

Process  block;  unsigned.  From  Harper  s Christmas  Number,  1887. 

192.  W.  L.  WYLLIE:  TOIL,  GLITTER  AND  GRIME  ON  THE  THAMES  . . 215 

Process  block;  unsigned. 

193.  W.  L.  WYLLIE:  BLACK  DIAMONDS  . . . . . . 215 

Drawing  from  his  picture  of  the  same  name,  with  brush  and  pen.  Process  block  by  Angerer  & Goschl. 

194.  T.  BLAKE  WIRGMAN:  H.  H.  ARMSTEAD  AT  WORK  . . . . 2l6 

Process  block;  unsigned.  From  the  drawing,  by  permission  of  the  Century  Co.,  lent  by  the  artist. 

195.  T.  BLAKE  WIRGMAN:  SKETCH  OF  REYNOLDS’  PORTRAIT  OF  MRS. 

SMEATON-  . . . . . . . . . . .217 

Process  block;  unsigned.  From  the  original  drawing  lent  by  the  artist. 

196.  WALTER  CRANE  . . . . . . . . .2l8 

Process  block;  unsigned.  From  the  original  drawing. 

197.  AUBREY  BEARDSLEY:  THE  LADY  OF  THE  LAKE  TELLETH  ARTHUR  OF 

THE  SWORD  EXCALIBUR  ........  220 

Process  block;  unsigned.  From  Malory’s  Morte  d' Arthur.  J.  M.  Dent  & Co. 

198.  AUBREY  BEARDSLEY:  DECORATIVE  BORDER  .....  221 

Process  block;  unsigned.  From  the  same. 

199.  AUBREY  BEARDSLEY:  THE  PEACOCK  GIRL  .....  222 

Process  block;  unsigned.  From  Salomie  by  Oscar  Wilde.  Elkin  Mathews  and  John  Lane. 

200.  AUBREY  BEARDSLEY:  PORTRAIT  OF  REJANNE  ....  223 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  the  drawing  lent  by  the  artist. 

201.  AUBREY  BEARDSLEY:  THE  RAPE  OF  THE  LOCK  ....  224 

Process  block  by  Weeks  Photo-Engraving  Company.  Leonard  Smithers. 

202.  AUBREY  BEARDSLEY:  WAG NE RIANS  ......  225 

Process  block  by  Weeks  Photo-Engraving  Company.  From  The  Yellow  Book.  John  Lane. 

203.  F.  L.  GRIGGS:  THE  OLD  SCHOOL-HOUSE,  UPPINGHAM  . . . 226 

Process  block;  unsigned.  From  Highways  and  Byways  Series.  Macmillan  & Co. 

204.  F.  L.  GRIGGS:  BRECON  BRIDGE  .......  227 

Process  block;  unsigned.  From  the  same. 

205.  F.  L.  GRIGGS:  NEWPORT  CASTLE  ......  227 

Process  block;  unsigned.  From  the  same. 

206.  A.  LEGROS:  THE  ECCLESIASTIC  .......  228 

Process  block  by  Weeks  Photo-Engraving  Company. 

207.  WALTER  SICKERT:  PORTRAIT  OF  GEORGE  MOORE  ....  229 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing.  First  published  in  the  Pall  Mall  Budget. 

208.  RANDOLPH  CALDECOTT:  THE  FOX  ......  23O 

Wood-engraving  by  J.  D.  Cooper.  From  TEsop' s Fables.  Macmillan  & Company. 

209.  RANDOLPH  CALDECOTT:  THE  LAMB  ......  23O 

From  the  same. 

210.  RANDOLPH  CALDECOTT:  THE  MAD  DOG  .....  23O 

From  The  Mad  Hog.  Wood-engraving  by  Edmund  Evans.  Routledge  & Sons. 

21 1.  RANDOLPH  CALDECOTT:  THE  CAT  WAITING  FOR  A MOUSE  . . 23O 

Wood-engraving  by  Edmund  Evans.  From  The  House  That  Jack  Built.  Routledge  & Sons. 

212.  RANDOLPH  CALDECOTT:  THE  STAG  ......  232 

Wood-engraving  by  J.  D.  Cooper.  JEsop' s Fables.  Macmillan  & Company. 

213.  A.  J.  GASKIN*.  WHAT  THE  OLD  MAN  DOES  IS  ALWAYS  RIGHT  . . 2J,2 

Process  block  by  L.  Chefdeville  & Co.  From  Hans  Andersen  s Stories  and  Fairy  Tales. 

214.  L.  F.  MUCKLEY:  THE  MODEST  ROSE  PUTS  FORTH  A THORN  . . 233 

Process  block  by  A.  & C.  Dawson.  From  the  drawing  lent  by  the  artist. 

215.  E.  H.  new:  PORTRAIT  OF  HERBERT  NEW  .....  234 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing  lent  by  the  artist. 


XXIX 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

216.  E.  H.  new:  new  front,  heron  court  .....  234 

Process  block  by  A.  & C.  Dawson.  English  Illustrated  Magazine. 

217.  A.  J.  GASKIN:  THE  GOLOSHES  OF  FORTUNE  .....  235 

Process  block  by  L.  Chefdeville  & Co.  Hans  Andersen  s Stories  and  Fairy  Tales.  Geo.  Allen. 

218.  CHARLES  KEENE:  “LITTLE  CHICKMOUSE,”  ETC.  ....  236 

Wood-engraving  by  J.  Swain.  Punch. 

219.  CHARLES  KEENE:  PORTRAIT  .......  237 

Process  block  by  A.  & C.  Dawson.  From  the  drawing  in  the  possession  of  the  author. 

220.  L.  RAVEN  HILL:  THE  BABY  .......  238 

Process  block  by  A.  & C.  Dawson.  From  drawing  lent  by  the  artist. 

221.  L.  RAVEN  HILL:  MANNING,  FISHMONGER  .....  239 

Process  block  by  A.  & C.  Dawson.  From  drawing  lent  by  the  artist. 

222.  J.  BERNARD  PARTRIDGE:  STUDY  .......  24O 

Process  block  by  Angerer  & Goschl.  From  the  drawing  lent  by  the  artist. 

223.  J.  BERNARD  PARTRIDGE:  FROM  PROVERBS  IN  PORCELAIN  . . 24I 

Process  block  by  Angerer  & Goschl.  From  the  drawing  lent  by  the  artist.  Proverbs  in  Porcelain,  Austin 
Dobson. 

224.  EDGAR  WILSON:  FORTIS  CADERE,  CEDERE  NON  POTEST  . . 242 

Process  block  by  Waterlow  & Sons,  Limited.  From  the  drawing  lent  by  the  artist.  The  Butterfly. 

225.  EDGAR  WILSON:  YARNS  FROM  AN  IRONCLAD  ....  243 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing  lent  by  the  artist.  The  Butterfly. 

226.  PHIL  MAY:  A REMINISCENCE  OF  THE  PELICAN  ....  244 

Process  block;  unsigned.  Phil  May’s  Annual. 

227.  PHIL  MAY*.  THE  OLD  PARSON  .......  245 

Process  block  by  Waterlow  & Sons,  Limited.  From  the  same. 

228.  PHIL  MAY:  “WHAT’S  THE  ROW?”  ......  246 

Process  block;  unsigned.  From  the  same. 

229.  LINLEY  SAMBOURNE:  A WATER  BABY  ......  247 

Process  block  by  A.  & C.  Dawson  and  wood-engraving  by  J.  Swain.  Water  Babies.  Macmillan  & 
Company. 

230.  LINLEY  SAMBOURNE:  WORTH  CULTIVATING  .....  248 

Process  block  by  A.  & C.  Dawson.  Punch. 

231.  LINLEY  SAMBOURNE:  A LOBSTER  ......  248 

Wood-engraving  by  J.  Swain.  Water  Babies. 

232.  W.  DEWAR  ..........  249 

Process  block  by  Waterlow  & Sons,  Limited.  From  the  drawing  lent  by  the  artist.  Strand  Magazine. 

233.  GEORGE  DU  MAURIER:  RIGHT  OF  TRANSLATION  ....  25O 

Wood-engraving  by  J.  Swain.  Punch. 

234.  WILLIAM  SMALL  .........  25I 

Process  block  by  Angerer  & Goschl.  From  the  drawing. 

235.  WILLIAM  SMALL  .........  252 

Process  block  by  Angerer  & Goschl.  From  the  drawing. 

236.  A.  S.  HARTRICK  .........  253 

Process  block  by  the  Swan  Electric  Engraving  Company.  From  the  drawing  lent  by  the  artist.  Pub- 
lished in  the  Daily  Graphic. 

237.  E.  J.  SULLIVAN:  SARTOR  RESARTUS  ......  254 

Process  block;  unsigned.  From  Sartor  Resartus,  published  by  Macmillan  & Company. 

238.  E.  J.  SULLIVAN  .........  254 

Process  block;  unsigned.  From  the  same. 

239.  E.  J.  SULLIVAN:  ADAM  AND  EVE  ......  255 

Process  block;  unsigned.  From  the  same. 

240.  E.  J.  SULLIVAN  .........  255 

Process  block;  unsigned.  From  the  same. 


XXX 


LIST  OF  ILLUSTRATIONS 


NO. 

241.  ARTHUR  RACKHAM:  PETER  PAN  ....... 

Process  block  by  Weeks  Photo-Engraving  Company.  Peter  Pan.  Chas.  Scribner’s  Sons. 

242.  ARTHUR  RACKHAM:  PETER  PAN  ....... 

Process  block  by  Weeks  Photo-Engraving  Company.  From  the  same. 

243.  FRED  PEGRAM!  PORTRAIT  OF  MOFFAT  P.  LINDER  .... 
Process  block  by  L.  Chefdeville  & Co.  From  the  drawing  lent  by  the  artist. 

244.  MAURICE:  GREIFFENHAGEN  ....... 

Process  block  by  Waterlow  & Sons,  Limited.  From  the  drawing  lent  by  the  artist. 

245.  R.  SPENCE:  THE  LEGEND  OF  ST.  CUTHBERT  . . . . 

Process  block;  unsigned.  From  The  Quarto.  J.  S.  Virtue  & Co. 

246.  R.  M.  M.  PITMAN  (MISS)  ........ 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing  lent  by  the  artist. 

247.  R.  A.  bell:  la  belle  dame  sans  merci  . . . . . 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing.  First  published  in  Sylvia's  Journal. 

248.  R.  A.  BELL:  ORPHEUS  AND  HIS  LUTE  ...... 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  drawing.  The  English  Illustrated  Magazine. 

249.  W.  G.  BAXTER  .......... 

Process  block  by  Dalziel.  From  Ally  Sloper's  Half-Holiday.  Lent  by  Gilbert  Dalziel,  Esq. 

250.  HUGH  THOMSON:  A GROUP  ON  HORSEBACK  . . . . . 

Process  block  by  Waterlow  & Sons,  Ltd.  From  Our  Village , by  Miss  Mitford.  Macmillan  & Co. 

251.  HERBERT  RAILTON : OLD  HOUSES  ON  EXE  ISLAND 

Process  block  by  Waterlow  & Sons,  Ltd.  From  Coaching  Days  and  Coaching  Ways,  by  W.  Outram 
Tristram.  Macmillan. 

252.  KATE  GREENAWAY  ......... 

Wood  block,  engraved  by  Edmund  Evans.  From  Mayor  s Spelling  Book. 

253.  KATE  GREENAWAY  . 

Wood  block,  engraved  by  Edmund  Evans.  From  the  same. 

254.  PERCY  KEMP:  THEY  MET  AGAIN  ...... 

Process  block  by  Angerer  & Goschl.  From  the  drawing  lent  by  the  artist.  Pick-me-Up. 

255.  LAURENCE  HOUSMAN  ........ 

Process  blocks  by  Waterlow  & Sons,  Ltd.  From  Goblin  Market,  by  Christini  Rossetti.  Macmillan  & Co. 

256.  SIR  HUBERT  VON  HERKOMER:  IN  THE  BAVARIAN  HIGHLANDS 
Process  block  by  Weeks  Photo-Engraving  Company. 

257.  J.  M.  N.  WHISTLER:  THE  FAMINE  IN  LANCASTER  . . . . 

Wood-engraving  by  Dalziel  Bros.  Once  a Week. 

258.  J.  M.  N.  whistler:  blue  and  white  . . . 

Process  block  by  Weeks  Photo-Engraving  Company.  Catalogue  of  Blue  and  White  China.  Published 
by  Ellis  & Elvey. 

259.  EDWIN  A.  ABBEY:  BOOK  PLATE  ....... 

Process  block  by  A.  & C.  Dawson.  From  drawing  lent  by  Mr.  Edmund  Gosse. 

260.  EDWIN  A.  ABBEY:  THE  BRACELET  TO  JULIA  . . . . 

Process  block;  unsigned.  Herrick's  Poems.  Harper  & Bros. 

261.  EDWIN  A.  ABBEY:  FROM  OLD  SONGS  ...... 

Process  block;  unsigned.  Harper  & Bros. 

262.  EDWIN  A.  ABBEY:  FROM  THE  QUIET  LIFE  . . . . . 

Process  block;  unsigned.  Harper  & Bros. 

263.  EDWIN  A.  ABBEY:  “she’s  LIM’D  I WARRANT  YOU  ” 

Process  block;  unsigned.  Shakespeare' s Comedies.  Harper  & Bros. 

264.  REGINALD  B.  BIRCH:  DRAWING  FROM  LITTLE  LORD  FAUNTLEROY 
Process  block;  unsigned.  Scribners. 

265.  H.  F.  FARNY:  AN  INDIAN  CHIEF  ...... 

Process  block  by  A.  & C.  Dawson.  Drawing  lent  by  the  Century  Company. 


PAGE 

256 

257 

258 

259 

260 

261 

262 
263 
265 
266 
266 

267 

267 

268 

269 

270 

276 

277 

278 

279 

280 

281 

282 

284 

285 


XXXI 


LIST  OF  ILLUSTRATIONS 


NO.  PAGE 

266.  HOWARD  PYLEt  DRAWING  FROM  THE  WONDER  CLOCK  . . . 286 

Process  block  by  the  Moss  Engraving  Company.  Harper  & Brothers. 

267.  HOWARD  PYLE:  THE  COCK  LANE  GHOST  .....  28 7 

Process  block;  unsigned.  Harper  s Magazine. 

268.  HOWARD  PYLE:  “CARDS  AND  GAMING  WERE  FEATURES”  . . 287 

Process  block;  unsigned.  From  the  same. 

269.  HOWARD  PYLE:  THE  PARSON  COMING  DOWN  THE  STREET  DRIVING  HIS 

FLOCK  ...........  288 

Process  block;  unsigned.  From  the  same. 

270.  ARTHUR  B.  FROST:  A DISCUSSION  ......  29O 

Process  block  by  Louis  Chefdeville.  Drawing  lent  by  the  Century  Company. 

271.  FREDERICK  REMINGTON:  A QUESTION  OF  BRANDS  . . . 29I 

Process  block  by  Louis  Chefdeville.  Drawing  lent  by  the  Century  Company. 

272.  E.  W.  KEMBLE:  BOILING  SUGAR  CANE  .....  292 

Process  block  by  Louis  Chefdeville.  Drawing  lent  by  the  Century  Company. 

273.  A.  B.  frost:  our  cat  eats  rat  poison  .....  293 

Process  block;  unsigned.  Harper  s Monthly. 

274.  ALFRED  BRENNAN:  ILLUSTRATION  FOR  STORY  ....  295 

Process  block;  unsigned.  Drawing  lent  by  the  Century  Company. 

275.  ALFRED  BRENNAN:  STAIRWAY  AT  CHANTILLY  ....  296 

Process  block  by  the  C.  L.  Wright  Gravure  Company.  Harper  s Monthly. 

276.  FREDERICK  LUNGREN:  ILLUSTRATION  FOR  STORY  ....  298 

Process  block;  unsigned.  Drawing  lent  by  the  Century  Company. 

277.  ROBERT  BLUM:  JAPANESE  FIGURE  ......  299 

Process  block;  unsigned.  From  Japanica.  Sir  Edwin  Arnold.  Chas.  Scribner’s  Sons. 

278.  ROBERT  BLUM:  JAPANESE  STREET  SCENE  .....  3OO 

Process  block;  unsigned.  From  the  same. 

279.  ROBERT  BLUM:  ALCAZAR  ........  3OI 

Process  block  reproduced  by  Waterlow  & Sons,  Ltd.  From  The  American  Riviera. 

280.  c.  graham:  chateau  d’amboise  ......  302 

Process  block;  unsigned.  Harper  s Monthly. 

281.  JOSEPH  PENNELL:  MARKET  SQUARE  AT  CHARTRES  . . . 303 

Process  block  by  Weeks  Photo-Engraving  Company.  French  Cathedrals. 

282.  JOSEPH  PENNELL:  A STREET  AT  MARTIGUES  ....  304 

Process  block  by  Weeks  Photo-Engraving  Company.  From  Play  in  Provence.  Century  Company. 

283.  JOSEPH  PENNELL:  DOORWAY  AT  ARLES  .....  305 

Process  block  by  Weeks  Photo-Engraving  Company.  French  Cathedrals. 

284.  H.  D.  NICHOLLS:  MOUCHRABIYEHS,  IN  THE  OLD  QUARTER  AT  CAIRO  306 

Process  block;  unsigned.  Harper  s Magazine. 

285.  JOSEPH  PENNELL:  DOORWAY  BREWER’S  HALL,  LONDON  . . 307 

Process  block  by  Weeks  Photo-Engraving  Company. 

286.  JOSEPH  PENNELL:  TRANSYLVANIAN  VILLAGE  ....  308 

Process  block;  unsigned.  Century  Magazine. 

287.  LA  RASMUSSEN:  THE  GOLDEN  DOORWAY  .....  309 

Process  block;  unsigned.  Century  Magazine. 

288.  HARRY  FENN:  HALL-WAY  OF  HIS  HOUSE  .....  310 

Process  block;  unsigned.  Magazine  of  Art. 

289.  FRANKLIN  BOOTH:  A CLOUD  . . . . . • • 3ir 

Process  block  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  artist. 

290.  FRANKLIN  BOOTH*.  THE  TREES  .......  312 

Process  block  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  artist. 

xxxii 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

291.  FRANKLIN  BOOTH:  THE  SHIPS  .......  313 

Process  block;  unsigned.  Scribner's  Magazine. 

292.  HENRY  MC  CARTER*.  AN  EASTER  POEM  .....  314 

Process  block;  unsigned.  From  the  same. 

293.  HENRY  MC  CARTER:  AN  EASTER  POEM  .....  315 

Process  block;  unsigned.  From  the  same. 

294.  WYATT  EATON:  DRAWING  OF  A RELIEF  .....  316 

Process  block  by  the  C.  L.  Wright  Gravure  Company.  Century  Magazine. 

295.  WYATT  EATON*.  PORTRAIT  OF  ABRAHAM  LINCOLN  ....  317 

Wood-engraving  by  T.  Cole.  Scribner’s  Magazine. 

296.  C.  B.  FALLS:  SEPTEMBER  ........  318 

Process  block  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  artist. 

297.  c.  b.  falls:  the  flower  girl  ......  318 

Process  block  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  the  artist. 

298.  c.  b.  falls:  moonlight  ........  319 

Process  block  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  the  artist. 

299.  w.  t.  smedley:  “the  scarecrow  raised  his  eyes,  deep,  sad, 

unreproachful”  .........  320 

Process  block;  unsigned.  Harper  s Magazine. 

300.  w.  t.  smedley:  “the  yacht  rounded-to  off  the  casino”  . 321 

Process  block;  unsigned.  From  the  same. 

301.  C.  D.  GIBSON:  THE  EDUCATION  OF  MR.  PIP  ....  322 

Process  by  Weeks  Photo-Engraving  Company.  Drawing  lent  by  artist. 

302.  C.  D.  gibson:  “he  promenaded  the  long  verandahs,  debutantes 

LEANING  ON  HIS  ARMS  ” ........  323 

Process  block;  unsigned.  Century  Magazine. 

303.  W.  H.  drake:  TEA-SET  OF  MARTHA  WASHINGTON  . . . 324 

Process  block;  unsigned.  Century  Magazine. 

304.  OTTO  H.  BACHER-.  SHRINE  FOR  THE  OLD  BELL  OF  ST.  PATRICK  . 324 

Process  block;  unsigned.  Century  Magazine. 

305.  w.  h.  drake:  Washington’s  inkstand,  candlestick,  snuffer,  etc.  325 

Process  block;  unsigned.  From  the  same. 

306.  OTTO  H.  BACHER*.  TIBETAN  IDOL  ......  325 

Process  block;  unsigned.  From  the  same. 

307.  ROCKWELL  KENT  .........  326 

Process  block;  unsigned.  Drawing  from  Wilderness.  G.  P.  Putnam  Sons. 

308.  ROCKWELL  KENT  .........  327 

Process  block;  unsigned.  From  the  same. 

309.  ROCKWELL  KENT  .........  327 

Process  block;  unsigned.  From  the  same. 

310.  GOYO:  AFTER  THE  BATH  ........  328 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company. 

311.  HIROSHIGE:  SHOWER  ON  OHASHI  BRIDGE  .....  329 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Hundred  Views  of  Yeddo.  Lent  by 
Philadelphia  Free  Library. 

312.  HOKUSAI  . . . . . . . . . . 33O 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Hundred  Views  of  Fujiyama.  Collection 
New  York  Public  Library. 

313.  HOKUSAI  . . . 33I 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Hundred  Views  of  Fujiyama.  From 

the  same. 

314.  ARTIST  UNKNOWN  .........  332 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Lent  by  Philadelphia  Free  Library. 

xxxiii 


LIST  OF  ILLUSTRATIONS 

NO*  PAGE 

315.  ARTIST  UNKNOWN  .........  333 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Lent  by  Pennsylvania  School  of  Indus- 
trial Arts. 

316.  ARTIST  UNKNOWN:  REEDS  AND  DUCK  ......  334 

Woodcut  reproduced  by  Weeks  Photo-Engraving  Company.  Lent  by  Philadelphia  Free  Library. 

317.  KIOSAI  AND  HIROSHIGE  ........  335 

Wood  blocks  reproduced  by  Weeks  Photo-Engraving  Company. 

318.  ARTIST  UNKNOWN:  BIRD  ON  THE  BRANCH  .....  336 

Wood  block  reproduced  by  Weeks  Photo-Engraving  Company.  Lent  by  Pennsylvania  School  of  Indus- 
trial Arts. 

319.  ARTIST  UNKNOWN:  HORSES  .......  336 

Reproduced  by  Weeks  Photo-Engraving  Company. 

320.  h.  ophey:  factories  ........  337 

Drawing  in  Leipzig  Graphic  Arts  Exhibition,  1914. 

321.  H.  MATISSE:  PORTRAIT  OF  HIMSELF  ......  337 

Process  block;  unsigned. 

322.  h.  peckstein:  idyll  ........  338 

Process  block;  unsigned. 

323.  r.  janthur:  the  eye  ........  339 

Process  block;  unsigned. 

324.  OTTO  schoff:  flora  ........  340 

Process  block;  unsigned. 

325.  VINCENT  VAN  GOGH*.  CAFE  ARLES  ......  34I 

Process  block;  unsigned. 

326.  h.  peckstein:  the  madonna  .......  344 

Process  block;  unsigned. 

327.  h.  peckstein:  the  lovers  . . . . . . 345 

Process  block;  unsigned. 

328.  VINCENT  VAN  GOGH:  THE  RHONE  ......  346 

Process  block;  unsigned. 

329.  H.  MATISSE:  STUDY  .........  346 

Process  block;  unsigned. 

330.  l.  marquet:  tug  boat  ........  347 

Process  block;  unsigned. 

331.  p.  gaugain:  ready  for  the  fete  ......  347 

Process  block;  unsigned.  Original  drawing. 

332.  R.  naegle:  landscape  ........  348 

Process  block;  unsigned.  Original  drawing. 

333.  H.  ROSSMANN:  RITTER  UNGLUCK  ......  349 

Process  block;  unsigned.  Jugend. 

334.  A.  von  salzman:  henkell  trocken  ......  350 

Process  block;  unsigned.  From  the  same. 

335.  S.  FINETTi:  HENKELL  TROCKEN  .......  35I 

Process  block;  unsigned.  From  the  same. 

336.  SIR  E.  BURNE-JONES:  LABOR  .......  352 

Process  block;  unsigned.  The  Daily  Chronicle. 

337.  REGINALD  CLEAVER:  DIVISION  ON  THE  HOME  RULE  BILL  IN  THE 

HOUSE  OF  LORDS  .........  354 

Process  block  by  Waterlow  & Sons,  Ltd.  Drawing  lent  by  the  artist.  The  London  Daily  Graphic. 

338.  T.  s’.  C.  CROWTHER:  PORTRAIT  OF  EDMUND  YATES  . . . 354 

Process  block;  unsigned.  Drawing  lent  by  artist.  From  the  same. 

339.  ARTIST  UNKNOWN:  THE  BATTLE  ......  355 

Process  block;  unsigned. 


XXXIV 


LIST  OF  ILLUSTRATIONS 

MO.  PAGE 

340.  H.  DEVITT  WELSH!  TITLE  FOR  NEWSPAPER  ILLUSTRATION  . . 356 

Process  block;  unsigned.  Albert  Frank  & Co. 

341.  H.  DEVITT  WELSH*.  SPRING  .......  356 

Process  block;  unsigned.  The  Philadelphia  Press. 

342.  H.  DEVITT  WELSH*.  TITLE  FOR  NEWSPAPER  ILLUSTRATION  . . 357 

Process  block;  unsigned.  Albert  Frank  & Co. 

343.  H.  DEVITT  WELSH:  CHEW  HOUSE  ......  357 

Process  block.  The  Philadelphia  Press. 

344.  j.  c.  coll:  ladling  metal  .......  358 

Process  block;  unsigned.  Drawing  lent  by  artist. 

345.  j.  c.  coll  . . 359 

Process  block;  unsigned.  Drawing  lent  by  artist. 

346.  m.  fellows:  yachting  fashions  ......  360 

Process  block  by  Weeks  Photo-Engraving  Company.  V unity  Fair. 

347.  m.  fellows:  morning  coats  .......  361 

Process  block;  unsigned.  Vanity  Fair. 

348.  l.  fellows:  AUTOMOBILE  ADVERTISEMENT,  GOODRICH  tire  company  362 

Process  block;  unsigned. 

349.  LEE  MERO:  COCA-COLA  ADVERTISEMENT  .....  363 

Process  block;  unsigned.  Lent  by  Coca-Cola  Company. 

350.  ARTIST  UNKNOWN  .........  364 

Process  block;  unsigned.  Published  in  newspapers. 

351.  AUBREY  BEARDSLEY:  GERAUDEL’s  PASTILLES  ....  365 

Process  block;  unsigned.  Courrier  Franfais. 

352.  FRANKLIN  BOOTH:  HEAD  OF  LINCOLIN  .....  366 

Process  block;  unsigned.  Used  in  newspapers. 

353.  ARTIST  UNKNOWN  .........  368 

Process  block;  unsigned.  La  Gazette  Du  Bon  Genre. 

354.  EDOUARD  HALOUZE  .........  369 

Process  block;  unsigned.  From  the  same. 

355.  LEO  CHENEY:  JOHNNIE  WALKER  ......  370 

Process  block;  unsigned. 

356.  M.  PATITUCCI:  MICHELIN  TIRE  ADVERTISEMENT  . . . -371 

Process  block;  unsigned.  Published  in  various  French  papers.  Lent  by  the  Michelin  Tire  Company. 

357.  HOLLAND  TRINGHAM:  COLOGNE  CATHEDRAL  ....  372 

Process  block;  unsigned.  The  Daily  Graphic. 

358.  MRS.  G.  C.  RILEY  .........  373 

Process  block;  unsigned.  Lent  by  Bertsch  & Cooper. 

359.  E.  F.  BAYHA  . . 373 

Process  block;  unsigned.  Lent  by  Philadelphia  Trust  Company. 

360.  W.  A.  ROGERS:  DON  QUIXOTE  .......  374 

Process  block  by  Weeks  Photo-Engraving  Company.  Cartoon  published  in  The  New  York  Herald. 

361.  RENE  CLARK*.  FIRE  .........  375 

Process  block  by  Weeks  Photo-Engraving  Company.  Lent  by  Hartford  Fire  Insurance  Company. 

362.  s.  chapman:  automobile  advertisement  .....  376 

Process  block;  unsigned.  Vanity  Fair. 

363.  s.  chapman:  PORTRAIT  OF  THOMAS  burke  .....  376 

Process  block;  unsigned.  From  the  same. 

364.  ARTIST  UNKNOWN:  HUDSON  MOTOR  CAR  COMPANY  ADVERTISEMENT  . 377 

Process  block;  unsigned. 

365.  E.  J.  BABCOCK  377 

Process  block;  unsigned.  Designed  for  Whatman  Paper.  Lent  by  Whatman  Paper  Company. 


XXXV 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

366.  GARTH  JONES:  DECORATIVE  NEWSPAPER  DRAWING  . . . 378 

Process  block;  unsigned.  Lent  by  the  Packard  Motor  Car  Company. 

367.  HOWARD  PYLE:  HEAD  AND  TAIL  PIECES  .....  379 

Process  block;  unsigned.  Lent  by  Harper  & Brothers. 

368.  HERBERT  P.  HORNE:  DIANA  .......  380 

Process  block  by  Walker  & Boutall.  Century  Gild,  Hobby  Horse. 

369.  WILLIAM  MORRIS:  PAGE  OF  KELMSCOTT  PRESS  ....  381 

Edition  of  Caxton’s  Golden  Legend.  Type,  border  and  initials  designed  by  William  Morris.  Border 
engraved  on  wood  by  W.  H.  Hooper.  Process  block  by  Weeks  Photo-Engraving  Company. 

370.  DESIGN  BY  R.  ANNING  BELL:  BORDER  BY  BERTRAM  GOODHUE  . 382 

Process  block  by  Weeks  Photo-Engraving  Company.  From  The  Altar  Book.  Merrymount  Press. 

371.  BERTRAM  GOODHUE:  DECORATIONS  AND  TYPE  ....  383 

Process  block  by  Weeks  Photo-Engraving  Company.  From  the  same. 

37 2.  BERTRAM  GOODHUE:  DRAWING  AND  DECORATION  ....  384 

Process  block  by  Weeks  Photo-Engraving  Company.  The  Pastoral  Staff.  Merrymount  Press. 

373.  BERTRAM  GOODHUE:  TYPE  AND  DECORATION  ....  385 

From  the  same. 

374.  WALTER  CRANE:  PAGE  OF  DECORATIVE  LETTERING  . . . 386 

Process  block  by  Waterlow  & Sons,  Ltd.  English  Illustrated  Magazine. 

375.  WALTER  CRANE*.  HEAD  AND  TAIL  PIECES  .....  387 

Process  block  by  Walker  & Boutall.  From  drawings  designed  for  Messrs.  R.  & R.  Clark. 

376.  HEYWOOD  SUMNER:  WE  HAVE  NO  SOULS,  ETC.  ....  388 

Process  block  by  Waterlow  & Sons,  Ltd.  English  Illustrated  Magazine. 

377.  HENRY  RYLAND:  HEADPIECE  .......  389 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  same. 

378.  HENRY  RYLAND:  HEADPIECE  .......  389 

From  the  same. 

379.  LOUIS  DAVIS*.  TAILPIECE  ........  39O 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  same. 

380.  A.  c.  morrow:  tailpiece  ........  390 

Woodcut  by  O.  Lacour.  From  the  same. 

381.  HEYWOOD  SUMNER:  TAILPIECE  .......  39I 

Process  block  by  A.  & C.  Dawson.  From  the  same. 

382.  LOUIS  DAVIS:  HEADPIECE  ........  39I 

Process  block  by  Waterlow  & Sons,  Ltd.  From  the  same. 

383.  ALFRED  PARSONS:  THE  HAWK  .......  392 

Decoration  for  St.  Guido , by  Richard  Jefferies.  Wood-engraving  by  J.  D.  Cooper.  From  the  same. 

384.  ALFRED  PARSONS'.  THE  SWALLOW  ......  393 

From  the  same. 

385.  ALFRED  PARSONS:  TITLE,  SHAKESPEARE’S  COUNTRY  . . . 394 

Wood-engraving  by  J.  J.  Cocking.  From  the  same. 

386.  G.  WHARTON  EDWARDS:  HEADING  ......  394 

The  violoncello  of  Jufrow  Rosenboom. 

Process  block;  unsigned.  Century  Magazine. 

387.  E.  J.  SULLIVAN:  TAILPIECE  .......  395 

Process  block;  unsigned.  Sartor  Resartus.  Macmillan  & Company. 

388.  INIGO  THOMAS'.  VASE  ........  396 

Process  block;  unsigned.  The  Formal  Garden.  Macmillan  & Company. 

389.  JAMES  GUTHRIE:  DESIGN  FOR  TITLE-PAGE  .....  397 

Process  block;  unsigned.  The  Pear  Tree  Press. 

390.  franz  stuck:  speisenkarte  .......  398 

Process  block;  unsigned.  Stuck’s  Cartes  and  Vignettes.  Gerlach  & Schenk. 


XXXVI 


LIST  OF  ILLUSTRATIONS 


NO. 

39i- 

FRANZ  STUCK  ......... 

Process  block;  unsigned.  From  the  same. 

• 

PAGE 

399 

392. 

ALBERT  DURER:  ANGELS  CARRYING  THE  CROWN  . 
Process  block;  unsigned.  Life  of  Diirer,  by  Ephrussi. 

• 

400 

393- 

ALBERT  DURER:  ST.  GEORGE  AND  THE  DRAGON 
From  the  same. 

400 

394- 

OTTO  GREINER:  CANTATE  MONTAG,  LEIPZIG,  1 893 
Process  block;  unsigned.  Zeitschrift fur  Bilderkunst. 

401 

395- 

E.  GRASSETt  HEADPIECE,  LANDSCAPE  ..... 
Process  block;  unsigned.  Baschet’s  illustrated  Salon  catalogues. 

402 

396. 

E.  grasset:  introductory  headpiece  .... 

Process  block  by  Gillot.  From  the  same. 

403 

397- 

HABERT  DYS:  HEADPIECE  ....... 

Process  block  by  Pettit.  L' Art. 

404 

398. 

HABERT  DYS!  TAILPIECE  ....... 

Process  block;  unsigned.  From  the  same. 

404 

399- 

PAUL  renouard:  cock  fight  ...... 

Process  blocks;  unsigned.  La  Vie  Moderne. 

405 

400. 

FELIX  BRACQUEMOND  ....... 

Process  block;  unsigned.  L' Art. 

405 

401. 

T.  M.  CLELAND  ......... 

Process  block;  unsigned.  Used  in  Mathematics  Text  Book  by  Ginn  & Company. 

406 

402. 

T.  M.  CLELAND  ......... 

Process  block;  unsigned.  From  the  same. 

407 

403- 

RENE  CLARK!  EATON,  CRANE  & PIKE  CO.  ADVERTISEMENT 

Process  block  by  Weeks  Photo-Engraving  Company.  Lent  by  Messrs.  Calkins  & Holden,  New  York. 

408 

404. 

RENE  CLARK  ......... 

From  the  same. 

409 

405- 

WILL  H.  BRADLEY:  DESIGN  ...... 

Process  block;  unsigned. 

410 

406. 

R.  ruzicka:  college  chapel  ...... 

Process  block;  unsigned.  Lent  by  Vassar  College. 

411 

407. 

SELWYN  IMAGE:  THE  DOVES  ...... 

Process  block;  unsigned.  From  The  Hobby  Horse. 

412 

XXXVll 


CHAPTER  I 


OF  PEN  DRAWING  IN  THE  PAST 

OF  pen  drawing  in  the  past  I shall  say  little,  for  the  reason  that  there  is 
little  to  be  said,  that  is,  from  my  standpoint:  the  making  of  pen  draw- 
ings for  illustration  and  reproduction.  No  artist  would  study  the  old 
masters,  with  a very  few  exceptions,  for  the  technical  qualities  of  pen 
drawing  for  printing.  As  painters  now  look  to  Titian  and  Velasquez,  Rembrandt 
and  Franz  Hals  for  the  technique  of  oil  painting,  so  illustrators  in  the  future  will 
look  to  some  of  the  pen  draughtsmen  of  yesterday  as  not  only  the  early,  but  the 
great  masters  of  the  art.  It  is  not  necessary  to  do  more  than  point  out  the  scope 
and  aims  of  pen  drawing  as  practiced  by  the  great  artists  of  other  days,  in  order 
to  emphasize  its  far  wider  scope  and  broader  aims  among  the  men  of  our  days. 
A knowledge  of  its  technical  immaturity  in  the  past  helps  us  to  the  appreciation 
of  its  development  in  the  present. 

It  must  be  remembered,  however,  that  if  the  pen  drawing  of  the  old  masters 
was  undeveloped  in  comparison  with  modern  work,  it  was  because,  with  them, 
there  was  no  call  for  it  as  an  art  apart.  It  was  quite  perfect  for  their  purpose.  Since 
in  engravings  on  wood  and  metal  all  the  pen  quality  of  a drawing  was  lost,  when 
they  wanted  to  reproduce  their  work  they  etched  or  engraved.  What  Hamerton 
says  generally  of  pen  drawings  is  really  applicable  only  to  the  old  men;  theirs  were 
“sketches  of  projects  and  intentions.”  They  are  to  be  studied  for  their  composition 
and  arrangement,  suggestion  of  light  and  shade,  and  rendering  of  the  figure,  of 
which  I have  no  intention  to  speak,  since  in  these  matters  pen  drawing  is  subject 
to  the  same  laws  as  any  other  form  of  art;  but  for  technique  these  pen  memoranda, 
which  is  what  they  are,  as  a rule,  have  little  to  teach  the  modern  draughtsman. 

That  the  old  masters  made  great  use  of  the  pen  is  well  known.  One  cannot 
visit  any  of  the  great  galleries  without  seeing  many  of  their  pen  drawings,  which 
are  interesting  in  relation  to  the  pictures  of  which  they  were  the  germs,  and  as 
records  of  strong  impressions  and  ideas  vigorously  and  simply  put  down.  And  here 
let  me  insist  again  that,  while  one  may  make  notes  and  sketches  as  they  did,  and 
study  their  marvelous  facility  and  vigor  in  so  sketching,  such  sketches  are  not,  as 
many  modern  critics  and  painters  consider  them,  pen  drawings.  This  is  proved  at 
once  by  the  very  different  methods  used  by  these  masters  in  their  etchings,  to 
which  the  pen  drawings  of  today  are  equivalent.  But  their  pen  sketches,  or  rather 
memoranda,  really  were  for  them  very  much  what  instantaneous  photographs  are 
for  their  degenerate  successors,  the  photographic  painters,  suggestions  and  notes 
of  action  and  movement — suggestions  which  when  adopted,  and  notes  which  when 
taken  from  the  camera,  nearly  always  result  in  the  ruination  of  the  artist,  while 
the  photographer  struts  abroad  glorying  in  his  greatness.  By  all  means  the  old 
masters’  sketches  should  be  studied.  But  it  is  the  veriest  affectation  nowadays  to 
imitate  them,  though  hailed  with  approval  and  applause  by  the  artlessly  critical. 

If  the  artists  of  today  were  not  possessed  of  such  curses  as  photography,  they 
would  probably  excel  all  the  masters  in  sketching  or  etching — always  excepting 
Rembrandt  and  Whistler — for  we  do  develop  and  advance.  The  modern  artist  has 


2 


PEN  DRAWING 

many  aids  and  props  which  the  old  men  knew  nothing  about,  and  these  make  the 
work  of  today  much  more,  the  artless  think,  accurate  and  true  than  that  of  old 
time.  But  because  of  his  dependence  on  these  props,  the  modern  artist  has  lost 
much  of  his  former  ability  to  see  and  put  down  what  he  sees.  This  applies  even  to 
color.  And  if  a man  with  the  gifts  of  Titian  were  to  appear  today,  he  would  surpass 
Titian,  just  as  Corot  surpasses  all  the  old  landscapists  technically.  Claude  though 
is  a greater  artist  and  Claude’s  pen  drawings  are  wonderful— but  mostly  would  not 
reproduce  in  line. 

Michael  Angelo,  Da  Vinci,  and  Raphael  often  made  the  first  sketches  for 
their  paintings  with  pen  and  ink:  sketches  full  of  character,  that  have  lately  been 
made  better  known  by  numerous  reproductions  and  numberless  photographs. 
Botticelli’s  delicate  and  refined  illustrations  for  the  Divina  Commedia , though 
drawn  with  silver  point,  were  gone  over  with  pen  and  ink,  while  those  signed  with 
a B,  at  times  attributed  to  Botticelli  in  the  Hypnerotomachia , are  the  most  perfect 
in  the  early  books.  Great  as  illustrators,  too,  were  Diirer  and  Holbein  and  their 
methods  are  by  no  means  obsolete;  the  better  they  are  known,  the  better  for  art. 

Landscapes  by  Titian,  with  little  villages  or  houses  in  the  distance,  have  a 
delightful  suggestion  of  picturesqueness;  but  it  is  curious  to  compare  these  with 
modern  pen  and  ink  landscapes  by  Rico,  Vierge,  or  Lalanne.  Titian’s,  the  honest 
critic  must  admit,  if  such  exist,  suffer  when  comparison  of  their  technical  points  is 
made.  But  scarce  any  critics  are  honest — and  the  few  who  are  have  mostly  no 
courage,  and  copy  the  words  that  fall  from  the  crooks.  A drawing  of  a Turk  by 
Gentile  Bellini  in  the  British  Museum  can,  for  beauty  of  modelling  with  a pen  and 
delicacy  of  handling  combined  with  simplicity,  be  advantageously  studied  by  the 
pen  draughtsmen  of  today.  It  shows  what  the  old  men  might  have  done  with 
a pen — but  they  made  drawings  for  their  own  sake— for  art’s  sake,  not  for 
reproduction. 

There  are  pen  studies  of  horses  and  carriages  by  Velasquez,  very  simply  and 
strongly  suggested,  and  marvels  by  Rembrandt  and  Claude  and  above  all  Diirer. 
But  it  is  unnecessary  to  go  through  the  list  of  all  the  masters  whose  drawings  have 
been  preserved.  It  is  endless,  and,  differing  as  the  drawings  do  in  character,  they 
are  nearly  all  alike  in  being  notes  or  records  of  facts;  or  if,  as  rarely  happens, 
carried  out,  are,  save  in  few  more  than  the  cases  I have  mentioned,  valueless  for 
study  of  technique.  That  is,  to  the  student,  who  should  learn  that  the  greatest  care 
and  not  the  utmost  carelessness  should  be  his  aim  in  drawing  for  reproduction. 
While  one  may  rave  over  these  early  drawings,  one  should  no  more  recommend 
their  technique  to  the  beginner  than  feed  a baby  with  champagne.  I wish  it  to  be 
understood  this  book  is  not  intended  for  dry,  dreary  cranks.  There  are  ideas 
enough  to  be  learned  from  the  old  masters’  drawings,  and  sometimes  the  best  and 
strongest  work  of  the  artist  is  to  be  found  in  his  pen  drawings. 

The  pen  draughtsman  should  study  Holbein’s  Dance  of  Death,  and  his  beauti- 
ful designs  for  metal  work,  many  of  the  originals  of  which  may  be  found  in  the 


OF  PEN  DRAWING  IN  THE  PAST  3 

British  Museum  and  that  at  Basle;  Albert  Diirer’s  and  Israel  von  Meckenen’s 
metal  engravings;  Rembrandt’s  drawings  and  etchings;  the  lovely  Renaissance 
decorative  head  and  tail  pieces;  Claude’s  perfect  landscapes  in  the  Uffizi.  Differ, 
having  no  perfect  process  by  which  to  reproduce  his  designs,  apparently  put  little 
delicacy  of  line  into  his  wonderful  drawings  for  the  wood-cutter,  yet  a reference  to 
the  Apollo  contradicts  this  statement,  and  delicacy  is  all  that  is  lacking  to  make 
them  in  technique  equal  to  the  drawings  of  today.  That  he  could  draw  delicately  is 
shown  by  his  prints,  every  one  of  which  is  worthy  of  reverent  study.  That  he  did 
not,  only  proves  that  he  understood  the  limitations  of  wood-cutting.  This  want, 
however,  added  to  a certain  archaic  feeling  that  pervades  all  his  engraved  work, 
makes  it  affectation  for  an  artist  today  to  model  his  style  on  that  of  Diirer — 
though  this  wood-cut  technique  is  perfect  for  rapid  printing. 

On  the  other  hand,  nothing  could  be  nearer  perfection  for  an  artist  of  a 
northern  country  to  study  than  Rembrandt’s  and  Whistler’s  etchings  of  out-of- 
door  subjects,  especially  their  little  views  of  towns.  Even  Ruskin  gives  this  advice 
in  his  Elements  of  Drawing,  regarding  Rembrandt;  his  etchings  have  so  many  of  the 
same  qualities  as  pen  drawings  that  I feel  certain,  had  he  lived  in  our  age,  he  would 
not  have  etched  so  much,  but  would  have  made  innumerable  pen  drawings,  for  the 
same  reason  the  best  pen  draughtsman  of  our  land,  Abbey,  once  gave  me.  Why, 
when  he  could  have  his  drawings  reproduced  perfectly,  should  he  use  a nasty,  dirty 
process,  which  is  successful  more  by  good  luck  than  good  management?  That  was 
E.  A.  Abbey’s  opinion.  Luckily  he  died  before  the  world  came  to  an  artless  dry  end, 
else  he  would  have  etched,  for  his  drawings  could  not,  or  would  not  be  reproduced 
today — it  would  cost  too  much.  You  can  see  from  reproductions,  how  well  Rem- 
brandt’s simpler  etchings,  as  well  as  Van  Dyck’s,  are  rendered  by  line  process 
blocks  from  clean  wiped  prints.  Many  of  Rembrandt’s  etchings  come  very  well 
without  any  wiping.  Whistler’s  last  drawings  were  in  pen  and  ink.  Collectors  now 
appreciate  old  etchings  for  their  rarity,  but  when  they  were  made  they  were  sought 
for  because  of  their  perfect  reproduction  of  the  master’s  work.  There  were  fancy 
prices  attached  to  some  of  Rembrandt’s  etchings  when  he  made  them  but  not  to 
Meryon’s.  They  were  sold  for  a few  cents  as  are  our  worst  illustrated  magazines. 
We  have  scarce  any  good  ones  any  longer. 

There  is  a little  of  the  modern  feeling  and  go  in  some  of  Tiepolo’s  drawings. 
Claude’s  landscape  sketching  in  pen  and  ink  is  also  full  of  the  modern  spirit.  Both 
these  artists  used  washes  of  bistre  or  sepia  on  their  pen  drawings,  and  as  these 
washes  can  now  be  reproduced  perfectly,  there  is  every  reason  to  use  them — as 
there  is  to  avoid  the  rotten  oil  paintings  which  are  stuck  in  the  American  artless 
magazines.  I am  no  purist  in  art,  and  therefore  no  advocate  for  “pure  pen  draw- 
ing.” I think  it  more  important  to  give  a desired  effect,  no  matter  how,  than  to 
limit  the  means  by  which  it  is  to  be  obtained.  But  always  the  artist  must  observe 
the  technical  requirements  of  reproduction  and  printing. 

The  development  from  Claude  and  Tiepolo,  through  Paul  Huet  and  others,  to 


4 


PEN  DRAWING 

our  time,  could  be  easily  traced.  Doubtless  many  pages  could  be  filled  were  I to 
follow  this  growth  in  detail,  as  there  are  many  books  compiled  by  the  artless  for 
the  studious  and  the  serious,  and  if  I stole  from  those  books,  ample  opportunities 
would  be  afforded  to  discover  my  omissions  and  praise  my  discoveries.  But  I do 
not  think  it  worth  while,  since  it  is  in  its  maturity,  rather  than  in  its  making,  that 
pen  drawing  is  most  interesting.  And  besides,  the  introduction  of  photo-engrav- 
ing had  so  much  to  do  with  its  development  that  there  seems  to  be  but  one  step 
from  the  old  “sketches  of  projects  and  intentions”  to  the  modern  technically  per- 
fect pen  drawing. 

The  history  of  the  development  of  pen  drawing  and  the  history  of  the  de- 
velopment of  photo-engraving  are  two  distinct  subjects,  neither  of  which  do  I 
propose  to  treat.  There  are  dissertations  on  both  subjects  which  the  curious  may 
pursue  and  peruse — they  have  nothing  to  do  with  the  art  though  there  are  many 
curious  facts  to  be  learned  as  to  the  beginning  of  mechanical  process  engraving, 
which  was  first  successfully  practiced  in  France. 

And  there  are  innumerable  histories  and  biographies  of  the  great  and  lesser 
masters,  from  Giotto  to  the  man  who  died  yesterday,  all  of  whom  have  helped  to 
develop  pen  drawing. 

But  until  about  the  year  1880  pen  drawing  did  not  begin  to  flourish  as  an  art. 
Before  this  no  artist,  except  as  an  experiment,  wanted  his  work  reproduced  by 
these  partially  developed  mechanical  processes.  The  drawings  of  the  old  masters, 
when  reproduced  at  all,  were  drawn  on  wood  and  then  cut  to  pieces  or  etched  or 
engraved  on  metal,  and  these  methods  were  continued  until  a few  years  ago,  when 
photography  was  made  use  of  to  transfer  drawings  on  to  wood  blocks  which  were 
then  engraved  and  the  drawings  preserved.  The  last  method  is  the  photographing 
of  the  pen  or  other  drawing — -with  pen  drawings  alone  I am  concerned — on  to  a 
metal  plate,  from  which  a mechanical  or  process  engraving  is  made  by  etching  the 
photographic  image  into  relief,  the  black  lines  or  tones  being  acid  resisting — the 
bare  space  between  the  lines  being  eaten  by  acid  leaving  the  lines  in  relief  for 
printing.  It  is  this  development  of  process  which  has  made  pen  drawing  into  a 
distinct  art,  equal  in  importance  to  etching.  It  is  mechanical  wood-cutting  and 
engraving;  one  of  the  rare  cases  in  art  in  which  machinery  is  better  than  hand 
work,  only  it  is  mostly  hand  work  after  all. 

Throughout  this  volume  I use  the  word  Process  to  express  the  reproduction  of 
a drawing.  It  is  the  word  used  by  artists  and  engravers  and  therefore  the  right  one. 


PEN  DRAWING  IN  THE  PAST  GENTILE  BELLINI  DRAWING  OF 
A TURK  MADE  AT  CONSTANTINOPLE 


THE  modern  method  of  pen  drawing  is  well  seen  in  the  work  of  Gentile 
Bellini.  I do  not  mean  to  say  that  he  was  the  first  to  use  the  pen  to  pro- 
duce a separate  and  distinct  form  of  art;  but,  whether  he  used  a pen  or 
a point,  until  Chodowiecki,  his  drawings  were  unrivalled.  I should  not 
commend  the  drawing  for  its  handling;  we  have  improved  that,  but  Bellini  seems 
to  have  been  one  of  the  few  among  the  ancients  who  cared  for  pen  drawing  for  its 
own  sake. 


6 TITIAN  AND  LALANNE  LANDSCAPE  DRAWINGS  COMPARED 

I SHOW  this  drawing  by  Titian,  and  with  it  a little  sketch  in  Holland  by 
Maxime  Lalanne,  for  the  purpose  of  comparison.  I am  quite  aware  that  it 
will  be  thought  absurd  on  my  part  to  compare  the  study  for  a great  picture, 
which  this  may  have  been,  with  an  apparently  slight  and  trivial  drawing 
by  Lalanne.  At  least,  painters  and  critics  would  so  consider  it.  I know  it  will  at 
once  be  said  that  the  hand  of  a greater  man  and  a larger  and  broader  mind  is 


evident  in  a pen  drawing  which,  like  Titian’s,  gives  a rocky  foreground  with  a 
great  tree,  a middle  distance  with  a town  and  woods,  a lake  stretching  away  to  a 
mountainous  horizon,  and  above  all  a fine  cloudy  sky.  I would  be  the  first  to  admit 
this  if  the  drawing  by  Titian  expressed,  with  the  same  vitality  and  directness  of 
line,  a result  as  artistic  as  that  by  Lalanne.  But  this  is  not  so. 

Before  analyzing  Titian’s  drawing,  I must  make  an  apology  for  it  by  saying 
that  I do  not  believe  Titian  ever  intended  or  would  wish  it  to  be  used.  And  because 
Titian  was  one  of  the  greatest  Italian  painters  is  no  reason  why  we  should  bow 
down  and  worship  everything  that  came  from  his  hand.  Though  the  composition 
is  suggestive  and  may  have  been  of  great  use  to  him,  the  lines  are  worthless  for 
study.  They  are  careless  and  trivial  from  one  end  of  the  drawing  to  the  other.  To 
come  down  to  details,  the  tree  trunk  is  very  well  drawn,  although  there  is  in  it  no 


7 


OF  PEN  DRAWING  IN  THE  PAST 

feeling  for  line.  It  grows  out  of  a meaningless  blot  at  the  bottom  and  disappears  at 
the  top  in  meaningless  scrawls  which  common  sense  tells  us  are  meant  for  foliage. 
Compare  it  with  the  young  tree  by  Lalanne1:  note  how  gracefully  the  growth  of  his 
tree  is  indicated,  and  the  way  in  which  Lalanne  shows  the  direction  of  the  prev- 
alent wind  in  Holland,  which  causes  the  tree  to  bend  and  its  branches  to  grow 
on  the  side  away  from  it.  I say  this  to  artists,  no  painter,  no  critic  notices  it,  or 
would  understand  if  they  did.  In  Titian’s  drawing  it  is  impossible  to  tell  where  the 


rocky  foreground  ends  and  the  water  of  the  lake  begins,  even  though  the  lake  lies 
far  below.  Everything  is  clumsily  obscure.  In  Lalanne’s  this  is  shown  in  the  clearest 
manner  with  about  one-third  the  number  of  lines  Titian  has  used.  In  the  Titian 
there  are  meaningless  blots  in  the  water,  and  you  cannot  make  out  the  construc- 
tion of  the  boat.  In  the  Lalanne  this  is  plain  enough;  you  can  even  see  the  different 
colors  in  which  his  boat  is  painted.  Look  at  the  careful  and  yet  slight  indication 
of  the  roadway  leading  to  the  towered  gate  by  Lalanne.  But  can  any  one  tell  what 
the  cross-hatched,  scrawled-in  hill  on  the  right  of  Titian’s  is  composed  of?  Titian’s 
middle  distance  of  a town,  woods,  and  a house  under  the  trees  on  the  opposite  side 
of  the  lake  has  the  handling  of  a small  child — no,  a cubist,  the  child  would  do  it 
better — while  the  perspective  is  all  out.  The  two  small  trees  on  the  left  are  not  bad. 
In  Lalanne’s  drawing  every  line  has  a purpose:  how  beautifully  the  shadows  are 
given  on  the  houses,  how  the  little  spots  all  have  a meaning,  while  Titian’s  are  due 
to  carelessness  and  clumsiness.  There  is  quite  as  much  suggestion  in  Lalanne’s 
white  paper  sky  as  in  Titian’s  labored  clouds,  though  the  clouds  are  the  best 
thing  in  his  drawing.  I know  that  any  person  can  see  these  things  after  I have 

’La  Porte  Saint-Antoine,  Amsterdam,  La  Hollande  a Vol  d’Oiseau.  Henry  Havard,  Decaux  and  Quantin,  Paris. 
See  other  illustrations  by  Lalanne  in  French  Chapter. 


8 


PEN  DRAWING 

pointed  them  out.  But  the  point  I wish  to  emphasize  is  that  students  are  bidden  to 
and  do  study  drawings  like  this  Titian  because,  as  he  was  a great  master  of  color, 
he  is  supposed  to  be  a great  master  of  everything;  but  Lalanne,  who  was  an  equally 
great  master  as  a pen  draughtsman,  is  ignored  because  he  is  a modern  and  rarely 
painted,  and  paint  and  the  cash  it  brings  is  the  aim  and  end  of  modern  art.  And  I 
want  to  insist  in  the  strongest  manner  that  this,  and  all  other  drawings  by  Titian 
I have  seen — and  I have  gone  through  almost  all  the  great  galleries,  some  even 
that  exist  no  longer;  curse  this  age  and  what  it  has  brought  us — are  of  little  value 
for  the  study  of  technique.  I repeat  what  I have  already  said  that  neither  pen* 
drawing  nor  landscape  painting  was  then  developed,  or  had  become  an  independ- 
ent and  separate  art  of  any  great  importance.  I do  not  for  a moment  assert  that 
Titian  could  not  have  made  a fine  pen  drawing.  I only  say  that,  judging  from  his 
drawings  which  we  possess,  he  did  not,  technically. 

SOME  COMPARATIVE  HEADS  OLD  AND  NEW 

BY  using  these  heads  I thought  it  possible  to  compare  old  work  with  new 
by  grouping  together  two  or  three  different  countries,  and  new  methods 
and  periods,  in  order  to  explain  more  easily  the  difference  between  the 
old  and  new  technique. 

We  know  what  Differ  could  do  with  a pen  from  his  designs  and  decorations, 
perfect  models  for  use  to- 
day, and  from  his  woodcuts, 
for  whether  he  drew  these 
with  a pen,  pencil,  or  brush, 
is  of  very  little  importance 
since  the  results  resemble 
pen  drawings  on  the  block. 

But  when  we  find  a draw- 
ing like  this,  of  which  he 
must  have  been  proud  or  he 
would  never  have  signeci 
it,  we  find  at  once,  exqui- 
site though  the  drawing  is 
and  fine  as  is  every  line  in 
it,  that  Differ  had  not  a 
knowledge  of  the  wealth 
and  depth  of  color  which 
can  be  obtained  with  a pen. 

By  comparing  it  with  the 
drawing  by  Rossetti  this 
becomes  apparent,  even 
though  the  Rossetti  has  lost 


OF  PEN  DRAWING  IN  THE  PAST  9 

very  much  in  the  wood-engraving.  The  lines  in  the  Diirer  are  far  finer  than 
those  in  the  Rossetti,  but  the  latter  suggests  far  more  color  and  is  much  more 
freely  handled  than  the  earlier  drawing  by  Diirer.  Neither  of  these  drawings  was 

intended  for  reproduction, 
and  the  Diirer  no  more 
resembles  his  engravings 
than  the  Rossetti  resem- 
bles his  designs  which 
were  put  on  the  block. 

Neither  the  Print 
Room  of  the  British 
Museum  nor  any  other 
great  gallery  contains  a 
more  interesting  pen 
drawing  than  this  Apollo 
by  Diirer.  It  is  well  known 
and  has  been  reproduced 
before.  Its  interest  for 
curators,  collectors  and 
art  historians  arises  from 
its  resemblance,  not  only 
to  Diirer’s  Adam,  but  to 
Jacopo  de’  Barbaras  treat- 
ment of  the  same  subject. 

My  reason  for  reproducing  it,  however,  is  quite. different.  It  is,  in  the  first 
place,  drawn  with  perfect  freedom;  a study  made  as  it  might  be  made  today,  with- 
out thought,  apparently,  of  the  engraver  or  wood-cutter.  But  this  want  of  thought 
is  only  apparent;  for  the  word  Apollo  is  written  backwards,  showing  conclusively 
that  it  was  done  for  the  engraver.  And  still  more  interesting  is  that  between 
the  legs,  and  around  one  arm,  and  in  the  hair,  are  distinct  marks  of  pencil  or 
silver  or  some  other  point  having  been  used  to  trace  it  on  to  another  sheet 
or,  more  probably,  block  or  plate.  No  notice,  so  far  as  these  most  important 
facts  are  concerned,  has  ever,  I believe,  been  taken  of  this  drawing  by  the  critics — 
why  should  they?  The  historians  have  never  noticed  them,  and  the  authorities 
get  everything  out  of  books  but  brains.  And  yet,  whenever  I have  asked  engravers 
or  illustrators  or  art  editors  of  intelligence  to  look  at  this  drawing  they  have  at 
once  agreed  with  me  that  it  was  made  by  Diirer  for  engraving,  that  this  must  have 
been  his  method,  that  the  lines  in  the  study  were  simplified  by  the  wood-cutter, 
and  that  the  flesh  and  background  were  cut  by  the  engraver  without  any  reference 
to  the  lines  made  by  Diirer  on  paper  to  be  cut  or  engraved  under  his  direction. 

It  is  known  that  this  drawing  never  was  engraved,  or  there  is  no  engraving 
of  it  in  existence.  This  possibly  is  the  reason  for  its  existence.  How  do  we  know 


10 


PEN  DRAWING 


that  Diirer  did  not  destroy  those  studies  for  his  engravings,  earned  out,  ever) 
body  now  knows,  mainly  by  other  people  as  soon  as  they  were  engraved  in  metal 
or  cut  on  wood?  Or  possibly  in  the  Japanese  fashion,  they  were  pasted  on  the 
block  and  the  lines  cut  through  the  sheet  of  paper  into  the  blocks— simple 


OF  PEN  DRAWING  IN  THE  PAST  11 

technical  matters  like  these  the  self-sufficient  critics  never  note.  That  the  drawing 
was  intended  for  engraving  is  proven  absolutely  by  the  Apollo  being  written 
backwards  as  I have  noted. 

Again,  Sir  Sidney  Colvin  maintains  that  lead  pencils  were  not  known  to 
Diirer,  and  that  this  tracing  is  of  later  date.  But  I do  not  know  that  the  tracing  on 
the  drawing  has  been  made  with  lead,  it  may  be  silver,  rusty  iron,  ivory  or  any 
sort  of  metal  point  that  would  leave  a mark;  and  every  one  who  has  had  to  trace 
drawings  knows  that  the  simplest  way  to  make  a tracing,  not  in  reverse,  is  to  go 
over  it  with  something  that  leaves  a mark,  because  if  a line  is  left  out  one  knows 
just  how  much  one  has  traced.  Otherwise  it  is  necessary  constantly  to  lift  up  the 
drawing — often  shifting  it — to  see  how  much  has  been  done.  And  I do  not  know 
why  I gave  so  much  space  to  considering  Sir  Sidney  Colvin’s  suppositions. 

Therefore,  this  is  one — possibly  the  only  one — of  Diirer’s  original  drawings 
in  preparation  for  the  wood-cutter  or  his  own  engraving.  And  I have,  I believe, 
for  the  first  time  discussed  from  this  point  of  view  one  of  the  most  interesting 
possessions  of  the  British  Museum.  The  lines  in  the  sky  are  done  with  the  utmost 
freedom;  and  yet  they  are  so  drawn  that  any  intelligent  wood-cutter  could 
simplify  them  so  as  to  produce  a sky  that  would  print.  And  one  should  note  that 
Diirer  did  draw,  in  this  instance,  with  a freedom  and  a delicacy  quite  absent 
from  his  wood-cuts;  that  these  qualities  are  absent  from  them  is  his  misfortune 
not  his  fault — because  the  wood-cutter  could  not  cut  such  lines. 

The  glory,  or  mirror  which  frames  the  word  Apollo  is  quite  characteristic;  but 
when  we  come  to  the  flesh  all  is  different.  The  outlines  of  the  figure,  background, 
and  less  important  parts  were  most  likely  traced  on  the  block  or  plate  by  assist- 
ants; and  he  then  filled  them  in,  simplifying  or  adding  to,  the  important  figure  in 
just  the  fashion  he  wished,  on  the  block,  all  of  this  being  cut  to  pieces,  which  was 
the  course  pursued  by  Menzel,  Dore,  Rossetti,  until  the  introduction  of  photog- 
raphy. Common  technical  facts  are  beyond  the  common  critic. 

I have  discussed  Diirer  in  this  way  as  a practical  working  illustrator,  working  as 
all  other  illustrators  worked;  and  great  as  are  his  designs,  I believe  they  were  made 
in  very  much  the  fashion  we  make  them — we  only  follow  him — and  are  far  behind. 

The  reproductions  of  this  drawing  and  the  Bellini  were  made  by  the  Swan 
Electric  Company,  and  are  interesting  examples  of  the  Ives  method  (the  blocks 
were  made  by  Mr.  Ives  himself)  of  reproducing  line  drawings  by  the  half-tone 
process.  Though  these  blocks  were  made  by  an  American  a quarter  of  a century  or 
more  ago  they  are  better  than  most  made  today.  Then  in  illustration  we  were 
artists — today  we  are  artless. 

Van  Dyck  could  draw  with  a pen,  as  is  shown  by  this  head  of  a child,  though 
in  his  day  such  a drawing  could  not  have  been  reproduced;  but  today  it  could  be, 
as  it  has  been,  perfectly.  Even  the  chalk  work  in  it  comes  admirably.  While  all  of 
Van  Dyck’s  shadows  are  made,  or  at  any  rate  have  been  reproduced,  in  nearly  pure 
black,  Galice’s,  being  drawn  with  a fine  pen,  give  variety  to  the  whole,  and  allow 


••  w 


I*' 


J 


14 


PEN  DRAWING 


him  to  concentrate  his  blacks  where  he  wants.  Van  Dyck  has  scattered  his  blacks 
all  over.  Nevertheless,  his  drawing  is  but  another  proof  that  the  old  men  could 

have  drawn  with  a pen  had  there 
been  any  necessity  for  it.  That  they 
would  have  done  so,  could  their 
pen  drawings  have  been  printed. 

I have  had  a process  block 
made  from  Van  Dyck’s  etching  of 
the  head  of  Snyders  and  it  is  upon 
his  etchings  that  Van  Dyck’s  re- 
putation as  a black-and-white  man 
rests.  I have  placed  with  it  two 
heads  by  F.  Desmoulins  from  La 
Vie  Moderne , that  are  technically 
quite  equal  to  Van  Dyck  and  yet 
utterly  different.  The  smaller 
drawing  is  as  full  of  character  and 
the  modeling  as  well  given  as  the 
Van  Dyck;  in  the  larger  the  feel- 
ing of  flesh  is  far  more  completely 
carried  out  than  by  Van  Dyck, 
while  the  hair,  moustache  and 
imperial,  somewhat  similar  in  both, 


are  vastly  better  rendered  by  Desmoulins. 
Here  is  a man  who,  I venture  to  say,  is  almost 
unknown,  and  yet  in  black  and  white  he  has 
surpassed  Van  Dyck  with  his  worldwide 
reputation.  However,  Van  Dyck  has  had  but 
a handful  of  followers  in  portrait  etching; 
Desmoulins,  whether  the  fact  is  known  to 
newspaper  editors  or  not,  is  the  man  who 
commenced  the  drawing  of  portraits  in  pen 
and  ink  for  illustrated  journalism.  Van  Dyck 
gave  to  a lew  of  his  friends  a most  interesting 
gallery  ol  his  contemporaries;  Desmoulins 
has  given  the  world  most  artistic  renderings 
of  many  great  and  little  Frenchmen,  and  has 
influenced  a vast  army  of  pen  draughtsmen 
of  whom  he  was  the  master.  Van  Dyck’s 
etchings,  however,  live — I am  doing  what  I 
can  to  make  Desmoulins’  live — but  all  our 
art  is  in  danger  of  disappearing. 


OF  PEN  DRAWING  IN  THE  PAST  15 

These  drawings  also  demonstrate  another  fact:  we  moderns  have  advanced 
very  little,  if  at  all,  in  getting  a likeness,  and  who  has  surpassed  Holbein — his 
marvelous  red  chalk  drawings  are  the  glory  of  the  Windsor  collection.  But  we  have 
made  great  strides  in  technique  in  the  drawing  of  portraits.  Compare  the  manner 
in  which  Van  Dyck  has  dotted  and  stippled  the  light  side  of  the  face  of  Snyders,  and 
lined  the  shadows  without  reference  to  the  modeling,  with  the  very  simple  yet 
suggestive  line  of  Desmoulins.  Desmoulins  has  carried  his  subject  further  and 
rendered  the  head  more  completely  with  an  expenditure  of  probably  half  the  time 
and  labor.  The  actual  time  and  labor  given  to  a drawing  is  of  no  importance.  But 
if  one  can  show  a better  result  produced  more  simply,  it  is  better.  This  process 
block  may  also  be  compared  with  the  photogravure  of  the  same  subject  in  “ Etchers 
and  Etching ” in  this  Series. 

LANDSCAPE  DRAWINGS  BY  CLAUDE  LORRAINE 

CLAUDE  made  endless  drawings  in  line  as  “projects  and  intentions” — 
schemes  for  paintings  to  be  done,  records  of  those  he  had  done — almost 
every  one  is  worth  study  and  many  have  been  reproduced.  The  most  important 


collection  the  Liber  Veritatis  is — or  was— at  Chatsworth,  and  these  were  later 
engraved.  They  gave  the  idea  to  Turner  for  his  Liber  Studiorum.  There  are 
many  in  the  Uffizi  in  Florence  and  in  the  collection,  now  dispersed,  of  J.  P. 
Heseltine  of  London.  Reproductions  of  many  of  them  have  been  issued.  His 
use  of  line  and  wash  is  admirable  and  by  half-tone  now  can  be  rendered  perfectly 
almost,  though  as  they  were  drawn  in  sepia  and  other  browns,  often  on  blue 
paper,  this  is  difficult.  Many  have  washes  either  put  on  purely  or  made  by  drag- 
ging the  pen  lines  about  while  wet — and  often  the  pen  lines  have  been  worked  into 
the  wet  wash.  But  they  are  the  work  of  a great  technician  who  knew  what  he 
wanted  to  do,  and  did  it  for  himself,  though  it  is  now  our  admiration  and  envy. 
That  these  were  only  sketches  for  his  own  use  is  proved  by  the  fact  that  his  etch- 
ings, wildly  raved  over  by  Hamerton  and  all  the  rest,  are  dreary,  uninteresting, 
over-elaborate  machines.  Claude  did  not  know  a good  thing  of  his  own  when 
he  did  it. 


' ' fgg|[M  K > 

m SE8S-  i ‘*SHBr%g£ 

1k|1I  M-  W,  •• 

/^qISiH  /4H&hu 

Pen  and  Wash  drawing  by  Claude 


OF  PEN  DRAWING  IN  THE  PAST  DRAWINGS  AND  ETCHINGS  BY 
REMBRANDT 

REMBRANDT,  great  in  every  way,  shows  his  knowledge  of  the  limitation 
ol  every  art  by  his  admirable  and  right  work  in  it,  save  in  his  admirable 
large  etchings.  The  etching  of  the  old  man’s  head  is  a perfect  study  for  a 
pen  sketch.  It  is  as  free  as  it  can  be,  and  yet  every  line  is  put  in  carefully 


and  thoughtfully.  The  most  positive  proof  that  Rembrandt  would  have  been  a pen 
draughtsman  had  he  lived  today  is  that  this  head  reproduces  perfectly  by  process. 
Compare  it  with  the  head  of  the  master  of  the  Unfaithful  Servant,  the  full-page 
pen  drawing,  and  note  that  though  every  line  in  the  latter  is  put  down  with  a 
purpose,  and  there  is  none  of  the  wild  scrawling  so  visible  in  Titian,  it  is  without 
the  delitacy  and  refinement  shown  in  his  etchings.  It  is  a note  to  be  used  in 
painting  or  etching,  but  it  is  a work  upon  which  Rembrandt  could  have  based 
his  reputation  as  a pen  draughtsman. 


■%&  y?'*9  4* 


OF  PEN  DRAWING  IN  THE  PAST  19 

Rembrandt  knew  perfectly  the  limitations  of  pen  drawing  in  his  day  and 
respected  them.  When  he  wanted  the  quality  which  now  is  to  be  had  by  pen  draw- 
ing, he  etched,  and  in  his  etchings,  which  are  not  dependent  on  dry  point,  he 

obtained  this  quality,  though  they 
possessed  a certain  richness  and  full- 
ness owing  to  the  ink  which  no  line 
process  has  yet  been  able  to  give.  No 
one  in  the  past  is  greater  than  Rem- 
brandt as  an  etcher,  but  Whistler  in  his 
etchings  is  greater  than  Rembrandt. 
Therefore,  if  you  wish  a style  good 
for  all  time,  you  will  find  it  in  many 
of  Rembrandt’s  landscapes  and  figure 
subjects.  But  for  work  of  today,  and 
Rembrandt  gave  the  things  that  were 
about  him,  the  student  can  learn  more 
from  the  etchings  of  Whistler. 

This  study  of  a boy  by  Rem- 
brandt is  one  of  his  most  modern  and 
careful,  yet  there  are  endless  others 
equally  fine.  It  is  only  necessary  to 
compare  this  with  a dozen  drawings 
done  in  present  times  in  other  parts 
of  the  book  to  see  what  advances  we 
have  made — always  technically:  the 
pen  work  is  good  as  far  as  it  goes; 
very  good,  something  like  Keene’s  delightful  Punch  sketches.  That  Rembrandt 
thought  this  a sketch,  though  an  excellent  sketch,  is  at  once  proven  by  the  draw- 
ing and  etching  of  the  two  pigs.  In  the  pen  drawing  of  the  pig  lying  down  there 
is  certainly  the  germ  of  the  etching,  and  there  is  just  as  certainly  the  most  perfect 
expression  of  the  fact  that  Rembrandt  knew  what  could  be  and  could  not  be 
done  in  his  day  with  a pen.  How  much  we  have  progressed,  any  one  may  see  by 
noting  that  now  the  delightfully  delicate  etching  reproduces  quite  as  well  as  the 
strong,  bold,  pen  drawing. 

I cannot  help,  the  more  I see  of  Rembrandt’s  drawings  in  pen  and  wash, 
enthusing  over  them.  They  were  done  for  his  own  sake,  for  art’s  sake,  the  only  way 
to  work;  he  worked  that  way  because  he  loved  to.  He  knew  there  was  no  way  in  his 
day  of  reproducing  them,  he  did  them  because  he  wanted  to  and  amongst  the 
drawings  of  all  the  old  men  there  is  nothing  in  figure  work  finer  than  Rembrandt. 
Nothing  in  landscape  finer  than  Claude.  They  are  masters — study  them. 

It  is  one  thing,  however,  to  study  and  use  intelligently  the  good  work  of  the 
past;  it  is  another  to  be  taken  in  by  bad  work  of  the  past  or  to  use  it,  as  is  so  often 


20  PEN  DRAWING 

done,  merely  as  a cloak  for  incompetence.  Good  primitive  or  early  work  cannot 
be  imitated,  for  it  is  real  and  genuine — and  a real  primitive  can  easily  be  told 

from  a real  modernist.  We  cannot  go 
back  to  the  past,  but  we  can  learn 
from  the  men  of  the  past;  that  is  why 
Durer,  Rembrandt  and  Claude  are  so 
useful,  so  inspiring  for  serious  men 
who  wish  to  carry  on  tradition.  That 
is  the  reason  why  superfinal  duffers 
avoid  them — because  it  is  so  difficult 
to  carry  on.  But  difficulties  are  the 
last  thing  the  modernist  wishes  to 
encounter.  His  game  is  to  avoid,  and 
he  misses  being  an  artist  by  avoiding. 


CHAPTER  II 


OF  SPANISH  AND  ITALIAN  WORK 

PEN  DRAWING  as  an  art  belongs  to  the  nineteenth  century,  to  the 
last  quarter  of  it.  Hamerton,  who  in  his  Graphic  Arts  gives  a brief  sketch 
of  its  history,  says:  “Fortuny,  the  Spanish  painter,  introduced  a new 
kind  of  pen  drawing  which  has  been  followed  by  Casanova  and  others 
of  the  same  school,  and  which  has  had  some  influence  outside  of  it,  as  well  as 
upon  the  practice  of  etching.” 

But  when  he  wrote,  the  importance  of  this  “new  kind  of  pen  drawing”  had 
not  been  brought  to  his  notice.  For  the  truth  is,  in  Fortuny’s  day  pen  drawing 
was  revolutionized;  he,  Rico  and  Vierge  in  Spain,  Leibl  and  Dietz  in  Germany, 
Lalanne  and  Detaille  in  France,  with  the  new  methods  of  photo-engraving  to 
help  them,  made  it  the  art  it  is.  You  have  but  to  place  a drawing  of  Fortuny’s 
or  Abbey’s  by  one  of  Rembrandt’s  or  Raphael’s  to  realize  how  completely 
modern  reproduction  has  broken  down  the  old  limitations,  and  proven  that  the 
pen  can  be  used  for  something  more  than  projects  and  intentions.  Pen  drawing 
is  a painter’s  process,  and  nearly  all  these  artists  were  painters  as  well  as  pen 
draughtsmen. 

Fortuny’s  chief  innovation  in  methods  was  the  use  of  short,  broken  lines,  or, 
rather,  the  substitution  of  the  spot  for  the  line;  the  use  of  these  spots  of  lines  to 
indicate  the  mass  of  shadow,  the  omission  of  a definite  outline,  and  the  suggestion 
of  that  outline,  by  means  either  of  the  background,  or  the  modeling  inside  the 
figure.  He  worked  with  the  pen  like  a brush.  Hamerton  says  that  Fortuny  pre- 
ferred short  lines  because  he  wanted  to  get  variety,  and  because  he  saw  nothing 
in  nature  “that  could  be  fairly  interpreted  by  a long  line.”  But  a far  more  likely 
reason  is  that  he  found  with  short  lines  he  could  model  and  break  up  the 
mechanical  look  often  given  by  long  conventional  lines — though  all  lines  are 
conventional.  Fortuny’s  drawings  are  full  of  the  most  delicate  modeling;  his 
figures,  instead  of  being  simply  and  strongly  suggested  as  in  the  pen  sketches  of 
the  old  masters,  are  carefully  worked  out,  and  their  strength  is  increased  rather 
than  lessened.  Hamerton  asserts  that  the  apparently  “coarsest  pen  drawings  are 
usually  the  work  of  great  artists;  the  delicate  and  highly  finished  are  usually 
the  work  of  amateurs,  or  else  of  workmen  who  are  paid  to  imitate  engravings 
for  the  purpose  of  photographic  reproduction.”  True  as  this  was  in  a certain 
sense,  it  shows  that  Hamerton  did  not  foresee  the  development  of  photo-engraving 
and  it  is  misleading,  since  nothing  could  be  more  delicate  and  less  suggestive  of 
engraving  than  the  drawings  of  Fortuny;  that  was  their  distinction.  They  are 
moreover  full  of  the  most  wonderful  brilliancy,  which  in  pen  drawing  he  ren- 
dered for  the  first  time.  It  was  in  Spain  that  his  eyes  were  opened  to  strong  effects 
of  light,  and  the  desire  to  reproduce  these  effects  had  much  to  do  with  his  breaking 
away  from  academic  mannerisms  to  originate,  and  develop  new  methods. 

One  cannot  study  too  long,  too  carefully,  or  too  lovingly,  the  unfortunately 
few  examples  of  the  work  Fortuny  has  left  us.  These  are  to  be  found  scattered  in 
the  illustrated  books  and  papers  of  France  and  Spain,  for  which  he  occasionally 


22 


PEN  DRAWING 

worked.  Now  they  would  not  employ  him.  Poor  as  were  at  first  many  of  the  repro- 
ductions, mostly  wood-engravings,  they  stood  out  in  the  pages  just  as  one  of  his 
pictures  will,  when  by  chance  it  makes  its  way  into  an  exhibition.  His  drawings 
may  also  be  found  reproduced  in  some  of  the  lives  of  the  artists,  notably  in  that 
by  Davillier.  Here  and  there  in  other  of  Davillier’s  books  and  in  L' Art  are  a few 
of  Fortuny’s  drawings  of  bronzes  and  of  Spanish  and  Moorish  trappings.  While 
his  etchings  are  well  worth  study  technically  for  the  technique  of  pen  drawing, 
as  they  are  the  work  of  a pen  draughtsman  rather  than  an  etcher.  The  wood- 
engraved  reproductions,  however,  should  be  avoided,  for  fine  as  a few  are,  not- 
ably Leveille’s  of  the  portrait  of  M.  D’Epinay  in  the  fashion  of  Goya’s  time, 
the  feeling  of  pen  and  ink  work  is  in  them  cut  out  to  a great  extent,  yet  it  is  so 
fine  I have  included  it.  It  is  best  to  see  direct  reproductions  or  the  photogravures 
that  have  been  made.  It  may  be  asked,  How  is  one  to  know  the  difference  between 
wood  engravings  and  process  reproductions?  This  is  difficult  to  explain.  In  the 
former  there  are  little  dots  and  engraved  lines  which  can,  after  some  practice,  be 
detected,  at  times  only  through  the  magnifying  glass;  while  the  fine  grey  lines 
made  with  a pen  are  nearly  always  much  harder  and  broader.  Compare  the 
two  illustrations. 

Fortuny  lived  a little  too  soon  for  the  processes  by  which  his  followers  have 
profited.  Otherwise,  there  would  doubtless  have  been  a still  greater  number  of 
his  fine  pen  drawings,  as  well  as  fine  reproductions  of  them.  As  it  is,  many  of 
the  process  reproductions  give  his  drawings  a rough  and  hard  look,  which  the 
photogravure  reproductions  in  Davillier’s  Life  prove  most  conclusively  to  have 
been  the  fault  of  the  undeveloped  process. 

I have  spoken  as  if  Fortuny  was  the  leader  of  the  new  movement  in  Spain. 
There  is  very  little  doubt  that  he  was;  but  he  gave  his  time  almost  entirely  to 
painting,  and,  though  his  few  published  drawings  prove  him  to  have  been  a 
master,  he  did  not  devote  himself  to  the  development  of  pen  drawing  to  the  same 
extent  as  some  of  the  other  Spanish  artists  who  worked  with  and  around  him. 
However,  Fortuny  is  known  to  the  whole  world  as  a pen  draughtsman,  but, 
owing  to  the  persistent  way  in  which  black  and  white  work  has  been  ignored  by 
critics  and  painters,  especially  in  England  and  America — notwithstanding  the 
fact  that  it  was  the  only  healthy  art  developed  in  the  nineteenth  century — the 
names  of  the  men  who  have  made  illustration  what  it  now  is,  the  men  whose 
work  is  studied  by  intelligent  illustrators  the  world  over,  are  absolutely  unknown 
even  to  the  many  who  have  flooded  the  world  with  pen  drawings. 

Artists  who  have  studied  Rico,  Fortuny  and  Vierge  are  thought  to  be  masters, 
and  their  work  is  praised  as  being  original,  when  originality  is  the  last  merit  they 
could  claim  for  it.  But  then  imitators  are  a gang  of  little,  lying,  nagging  thieves, 
who  have  near  ruined  the  art. 

As  a landscape  pen  draughtsman,  there  is  not,  and  has  not  been  in  any 
country  or  time,  a stronger  man  than  Martin  Rico.  Though  it  may  be  information 


OF  SPANISH  AND  ITALIAN  WORK  23 

to  many,  Rico  made  pen  drawings  of  the  canals  of  Venice  and  the  palaces  of  Spain 
which  are  the  admiration  of  all  who  know  them.  But  what  does  the  up-to-date 
modern  know?  Rico  was  almost  faultless  as  a pen  draughtsman,  till  he  was  ruined 
by  the  camera  lucida;  before  that  he  could  on  white  paper,  with  pen  and  ink, 
catch  the  sunlight  of  a Venetian  day  and  the  glitter  and  transparency  of  a moving, 
shimmering  canal.  He  understood  the  true  limitations  of  the  art,  and  never  went 
beyond  them;  he  knew  just  where  to  put  a spot  of  ink  and  where  to  leave  it  out. 
With  his  wonderful  ability,  he  could  do  what  seems  an  impossibility;  fill  a piece 
of  white  paper  with  modeling,  and  make  a brilliant  black  with  six  grey  lines. 
Everything  he  touched  glitters  and  shines  with  sunlight,  and  there  is  not  one 
superfluous  stroke  in  his  drawing;  neither  is  a necessary  line  omitted,  nor  is  there 
a careless  or  a clumsy  scrawl  to  be  found.  How  true  he  is  only  those  know  who 
have  reverently  studied  him  in  the  countries  alone  adapted  to  glowing,  glittering, 
out-of-door  pen  work — Spain,  Italy  and  Southern  France,  Africa  and  the  East. 
Abortive  attempts  to  imitate  this  great  master  are  almost  daily  made  by  people 
ignorant  of  his  work,  or  of  pen  drawing,  or  the  reasons  for  a brilliancy  that  does 
not  exist  north  of  Southern  France  and  Italy.  It  is  perfectly  true  that  on  a summer 
day  some  of  the  little  whitewashed  villages  of  England  and  many  towns  in  the 
LTnited  States,  especially  in  the  south,  are  not  without  the  brilliancy  best  ren- 
dered by  the  methods  of  Rico.  But  how  much  better  it  is  for  the  artist,  in  a 
country  where  these  effects  are  the  exception  and  not  the  rule,  to  strike  out  for 
himself,  as  has  been  done  by  Alfred  Parsons  and  Sir  George  Reid  and  F.  L.  Griggs, 
among  the  very  few  British  landscape  pen  draughtsmen  of  ability.  Rico’s  work 
is  very  difficult  to  find.  Many  of  his  original  drawings  were  never  reproduced, 
but  were  bought  by  collectors  and  given  an  honorable  place  in  their  galleries. 
I have  seen  a number  in  New  York.  A few  have  been  reproduced  in  L' Art, 
L' Illustration  Espanola  y Americana , and  La  Vie  Moderne.  He  never  illustrated 
a book. 

One  of  the  Spaniards  who  should  be  ranked  with  Fortuny  and  Rico,  and, 
indeed,  above  them,  as  a pen  draughtsman  and  illustrator,  is  Daniel  Vierge,  a 
man  who  has  all  the  draughtsmanship  of  Fortuny  and  Menzel,  the  color  and  bril- 
liancy of  Rico,  the  grace  and  beauty  of  Abbey,  the  daring  of  Blum,  Brennan 
and  Lungren  (to  the  present  day  illustrator  what  do  their  names  convey);  in  a 
word,  a man  who,  in  the  few  short  years  of  his  working  life,  proved  himself  one 
of  the  greatest  illustrators  who  ever  lived.  I rank  Vierge  thus  above  Fortuny 
and  Rico  because  he  devoted  himself  more  entirely  to  black  and  white  work,  to 
illustration  and  modern  methods  of  illustrating. 

He  flashed  out  upon  the  artistic  world  with  a few  drawings  in  La  Vie  Moderne , 
Le  Monde  Illustre , the  Spanish  papers,  and  The  Century  (then  Scribner  s Monthly ) ; 
in  many  books,  some  comparatively  commonplace,  but  one,  the  most  brilliantly 
illustrated  work  ever  published,  which  illness,  however,  prevented  him  from  fin- 
ishing. Before  the  illustrations  for  the  first  edition  of  Pablo  de  Segovie  were  all 


24 


PEN  DRAWING 

made,  his  right  side  and  right  hand  were  paralyzed,  and  he  lost  the  power  of 
speech.  But  when  a man  is  as  great  as  Vierge,  his  career  is  only  checked,  not 
stopped,  by  a misfortune  that  would  have  killed  another  less  strong.  A few  months 
after  this  attack,  we  find  him  learning  to  draw  with  his  left  hand,  by  painting— 
and  painting  with  a sureness  unknown  outside  of  this  group  of  Spaniards.  Even 
the  French  were  so  struck  with  this  astonishing  marvel,  as  they  called  it,  that  in 
the  papers  ol  that  time  are  to  be  found  drawings  of  Vierge  sitting  out  of  doors, 
beginning  to  paint  and  draw  with  his  left  hand.  Such  happenings  would  pass 
unnoticed  today  in  this  cultured  country. 

Vierge  seems  to  have  learnt  everything  and  to  have  mastered  that  knowledge 
ol  how  to  use  one’s  ability,  which  is  indispensable  to  good  pen  drawing,  an  art 
only  lor  able  artists  who  care  lor  their  work,  and  who,  to  attain  their  ends,  are 
ready,  if  necessary,  to  use  other  than  conventional  methods,  or  get  other  than 
commonplace  results  by  ordinary  means.  If  the  pen  draughtsman  who  thinks  he 
has  discovered  some  new  method  looks  in  that  wonderful  book,  the  history  of 
Pablo  de  Segovie,  he  will  find  that  Vierge  discovered  it  long  before  him,  and  can 
give  him  a lew  new  hints  into  the  bargain.  You  cannot  examine  the  smallest 
drawing  in  his  masterpiece  of  illustration  without  seeing  how  much  study  pre- 
pared the  way  lor  its  brilliancy  and  skill.  Skill  is  technique,  absolutely  necessary 
— despite  Goethe  and  all  artless  literary  critics  who  have  prigged  from  him. 

Such  an  influence  did  this  book  have  upon  French  pen  drawing,  that  after 
its  publication  a school  ol  pen  draughtsmen,  following  Vierge,  appeared,  and 
their  work  was  more  distinguished  than  that  ol  any  other  draughtsmen,  though 
it  did  not  equal  that  ol  their  master.  Among  these  men  are  Ferrand  Fau, 
L.  Galice,  V.  A.  Poirson,  F.  Lunel,  and  F.  Pareys.  Their  drawings  can  be  seen  in 
the  early  numbers  of  La  Vie  Moderne , Les  Premieres , the  French  theatrical  journal, 
Paris  Illustre , etc.  Later  Vierge  finished  Pablo  and  did  two  or  three  other  volumes 
not  to  be  compared  with  it.  Fisher  Unwin  issued  these  in  England  about  1900.  A 
French  edition  ol  Pablo  came  out  in  photogravure.  The  illustrations  were  described 
as  etchings — a swindle  I hope  Vierge  had  nothing  to  do  with.  The  so  called  etch- 
ings were  photo-engravings.  A younger  generation  of  American  illustrators  too 
discovered  Vierge,  and  American  illustration  today  reeks  with  pitiful  imitators 
who  have  appropriated  almost  all  of  his  mannerisms. 

In  the  Fortuny  group,  Casanova  must  be  given  a very  high  place,  almost 
equal  to  that  of  Fortuny.  I have  not  seen  any  large  photogravures,  or  even  any 
very  good  reproductions  ol  his  drawings  save  the  one  in  this  book.  They  could 
hardly  be  engraved  in  wood,  and  in  the  more  or  less  rough  and  almost  cruel  repro- 
ductions for  the  Salon  Catalogues  and  in  French  illustrated  papers  they  lose 
enormously.  The  best  are  in  L' Art.  But  even  in  the  poorest  reproductions  can  be 
seen  the  exquisite  modelling  of  a monk’s  head  or  a woman’s  hand,  the  wonderful 
sparkle  of  a tiny  jewel.  His  delicate  grey  lines  would  be  lost  in  any  ordinary 
attempt  by  wood  engraving. 


25 


OF  SPANISH  AND  ITALIAN  WORK 

Among  the  Spanish-Italian  school  of  figure  draughtsmen  many  are  notable. 
But  to  describe  their  work  in  detail  would  be  endless  repetition.  There  is  nothing 
to  do  but  study  it.  Later,  the  Spanish  and  Italian  illustrated  papers  were  full  of 
the  work  of  imitators  of  the  greater  men  who  revolutionized  the  illustration  of 
France  and  Italy — work  with  which  the  pages  of  these  papers  glitter  and  sparkle 
and  glow,  though  it  is  without  the  originality  of  Fortuny,  Casanova,  Vierge  and 
Rico.  Today  there  is  scarce  a pen  drawing  in  them. 

To  speak  of  an  Italian  school  separately  would  be  impossible,  since  all  alike, 
these  children  of  the  sunlight,  spend  their  winters  in  Paris,  Rome,  or  Madrid,  in 
the  life  schools,  or  doing  nothing,  while  in  summer  they  find  their  work  out  of 
doors  in  Spain,  Southern  France,  Italy  or  Africa.  Sezanni,  whose  decorative  com- 
positions are  most  charming  and  graceful,  Paolocci,  Chessa,  Scoppetta,  Fabbi,  all 
have  a style  and  character  which  is  well  worth  study,  although  it  has  been  founded 
on  that  of  the  great  Spaniards.  Men  like  Zimenez,  Michetti,  Tito,  Favretto, 
Gomar,  Montalti,  Garcia  y Ramos,  whether  born  in  Italy,  Spain,  or  France,  as 
artists  can  hardly  be  said  to  have  any  nationality.  The  sun  is  their  god,  and 
Fortuny  and  Rico  are  his  prophets.  Another  reason  for  not  speaking  separately  of 
Italian  pen  drawing  is,  that  the  greater  number  of  Italian  papers  and  books  are 
so  badly  printed  that  the  principal  pen  draughtsmen  strive  to  get  their  work  into 
French  publications,  which  are  not  only  better  made,  but  appeal  to  a much  larger 
audience.  Printing  in  Italy  greatly  improved,  however,  before  the  war,  and  a young 
artist  from  North  Italy,  Martini,  did  some  very  remarkable  designs,  mostly  of  a 
morbid  character  and  much  propaganda  work  during  the  war  and  did  it  very  well. 

The  work  of  the  Spanish  school  may  still  be  a problem  to  critics  who,  though 
they  admit  its  brilliancy,  think  it  all  wrong  and  stupefying  because  of  its  contra- 
diction to  their  preconceived  notions  of  art,  it  never  seeming  to  occur  to  them  that 
perhaps  their  notions,  and  not  the  methods  criticised,  are  at  fault.  But  all  those 
with  technical  knowledge  and  broad  opinions  have  recognized  new  masters  in 
these  innovators  whose  influence  has  continued  steadily  to  increase.  Though  today 
the  brilliant  methods  of  these  artists  are  overshadowed  by  the  clumsy  technique 
of  certain  bunglers.  These  are  far  easier  to  imitate  to  a certain  extent,  as  such 
drawings  can  be  quickly  made.  They  are  today  the  ideals  of  the  American  illus- 
trator who  knows  much  of  tricks  but  little  of  drawing,  while  the  art  editors  mostly 
know  nothing  of  art  or  of  artists. 


SPANISH  AND  ITALIAN  WORK  ILLUSTRATIONS  GOYA  Y LUCENTES 


TILL  I read  Gautier’s  Voyage  en  Espagne , and  went  to  that  wonderful  land, 
I had  never  seen  or  even  heard  of  Goya’s  drawings.  To  make  such  an 
admission  is,  naturally,  to  court  abuse  from  the  critics,  but  I am  used  to  it.  The 
greater  number  of  visitors  to  the  Prado  at  Madrid — those  who  care  for  these 
things — never  see  his  drawings  or  hear  of  them,  for  they  are  not  catalogued 
by  the  keeper,  or  described  in  Murray,  and  the  gallery  in  which  they  are 


OF  SPANISH  AND  ITALIAN  WORK  27 

hung  is  usually  closed.  I do  not  know  what  has  happened  under  the  present 
director. 

But  the  moment  it  is  opened  you  are  in  the  presence  of  masterpieces.  You 
learn  that  Goya  is  not  only  one  of  the  earliest  but  still  one  of  the  greatest  of  pen 


draughtsmen  who  have  come  out  of  Spain;  that  if  France  profited  by  the  art  of 
wood  engraving  as  practiced  by  Bewick,  she  also  must  have  gained  much  from 
the  drawings  by  the  Spaniard.  Certainly  this  is  only  too  evident  in  the  illustrations 
of  Gigoux. 

The  British  Museum  possesses  a superb  pen  drawing  by  Goya,  though 
curious  doubts  have  been  expressed  as  to  the  genuineness  of  this  drawing,  it 
is  even  alleged  to  be  a reproduction;  a lithograph,  an  etching,  it  was  made  with 
a pen;  and  some  little  heads  and  figures,  which  are  doubtful;  still  it  is  necessary 
it  one  wishes  to  see  Goya  to  go  to  Madrid.  The  Madrid  drawings  were  made, 
most  of  them,  as  studies  for  the  Caprices , The  Scenes  of  Invasion , and  The  Bull 
Fights ; they  are  in  pen  and  ink,  wash,  wash  and  ink,  and  red  chalk.  There  are 
some  awful  fakes  in  the  Hispano-American  Museum  in  New  York.  These  are  the 
designs  which  must  have  inspired  Deveria,  Delacroix,  and  Gigoux — at  any  rate 
even  if  these  men  never  saw  the  drawings  they  must  have  known  his  etchings 
and  lithographs,  just  as  Goya  knew  of  the  early  lithographs,  and  made  several 
powerful  ones;  notably  The  Bull  Fights  described  in  Lithography  and  Lithographers. 
The  etchings  are  discussed  in  Etchers  and  Etchings. 

From  Goya  as  draughtsman  and  Bewick  as  engraver,  came  the  inspiration  of 
French  illustration.  I should  like  to  have  reproduced  some  of  the  grotesque 
designs  in  pen  and  ink  for  the  Caprices , but  this  of  the  Execution  by  Garroting 
Le  Garrot  Vil  is  technically  in  some  ways  finer,  and  the  little  heads  are  charac- 
teristic. It  would  be  interesting  to  trace  the  growth  and  development  of  illustra- 
tion in  France,  and  I have  slightly  touched  on  it  in  my  study  of  Modern  Illustra- 
tion; but  I now  know  where  all  the  modern  Spaniards  got  their  inspiration — for 
their  pen  drawings.  Goya  had  no  followers,  until  Fortuny,  in  Spain.  But  in  France 


28 


PEN  DRAWING 

he  was  accepted  by  the  men  of  1830.  None  of  his  drawings  were  used,  so  far  as  I 
have  seen,  as  illustrations  in  books.  He  is  said  to  have  made  some  portrait  illustra- 
tions for  Caen  Bermudez’s  Dictionary  of  Spanish  Artists , but  all  the  copies  I have 
found  are  unillustrated,  and  therefore  Meissonier  and  Menzel  still  remain  the 
great  exponents  of  the  art,  though  Goya  was  the  inspiration. 

MARIANO  FORTUNY 

The  full  name  of  Fortuny  was  Jose-Maria-Bernardo,  but  as  he  dispensed 
with  the  greater  part  of  it,  we  may  as  well  follow  his  example.  He  was  born 
in  1838  at  Reus,  a little  town  in  the  province  of  Tarragona,  where  he  lived  until 
the  age  of  fourteen  years,  attending  the  village  school.  Then  his  grandfather 
proposed  that  they  should  start  out  to  seek  their  fortunes,  and  they  footed  it 
to  Barcelona.  I make  these  bare  statements  about  Fortuny’s  early  life,  simply 
because  I wish  to  show,  first  that  Foriuny  was  born  years  after  Menzel  and 
Meissonier,  and  secondly,  that,  though  this  would  seem  as  if  from  the  beginning 
he  had  been  influenced  by  them,  as  were  all  northern  artists,  he  most  probably 
knew  nothing  about  their  work  until  he  went  to  Rome  in  1857. 

But  there,  when  studying  in  the  Academy,  in  the  course  of  his  training,  as  his 
biographer,  Yriarte  says,  he  came  under  the  influence  of  the  followers  of  Overbeck. 
I have  not  the  slightest  doubt  that  these  Germans  possessed  examples  of  Menzel, 
if  indeed  at  the  German  Embassy  or  some  of  the  Roman  libraries  was  not  to  be 
found  a complete  set  of  his  already  published  drawings,  which  certainly  must  have 
been  making  a profound  sensation  among  the  students  of  that  time;  while  Meis- 
sonier’s  Contes  Remois  was  just  issuing  from  the  press.  Fortuny,  not  having  yet 
worked  out  a style  of  his  own,  doubtless  was  influenced  by  the  drawings  of  these 
two  men,  the  like  of  which  had  never  been  seen  before.  The  chances  are,  drawings 
by  Fortuny  showing  this  influence  might  somewhere  be  found.  But  war  breaking 
out  between  Spain  and  Morocco,  Fortuny  went  off  with  a Royal  Commission  to 
paint  on  the  spot  in  Africa. 

It  was  in  Africa  his  eyes  were  opened  to  the  wonderful  effects  of  light  and 
shade — effects  which  Menzel  and  Meissonier  had  never  seen,  and  had  therefore 
never  tried  to  render.  Today  the  illustrator,  thanks  to  other  men’s  work  and 
photographs,  illustrates  what  he  has  not  seen  and  does  not  know.  Just  as  Meis- 
sonier, influenced  by  all  the  old  men  who,  as  far  back  as  Bellini,  had  made  pen 
drawings  which  were  fine,  was  the  first  to  take  up  pen  drawing  and  seriously  work 
at  it  to  express  his  ideas — why  I do  not  know  unless  because  of  love  of  the  medium; 
so  Fortuny,  when  he  got  to  Africa  and  back  again  to  Spain,  discovered  a method 
by  which  he  could  give  not  only  modelling,  but  sunlight  as  well.  Though  he  lived 
too  soon  for  the  processes  which  have  enabled  his  followers  to  improve  on  his 
methods,  yet  we  owe  the  inspiration  of  the  brilliant  work  of  the  modern  Spanish 
school  to  him.  Now  the  Spaniards  have  given  up  pen  drawing,  and,  following 
Zuloaga,  gone  back  to  Velasquez  and  paint. 


31 


OF  SPANISH  AND  ITALIAN  WORK 

Fine  as  are  these  drawings  by  Fortuny,  those  by  Fabres  and  Blum,1  in  this 
book,  made  years  afterwards  for  process  and  with  a full  knowledge  of  the  means  to 
be  employed  and  the  results  to  be  obtained,  are  of  more  value  to  the  student, 
because  while  there  is  in  Fortuny’s  drawing  the  freedom  of  a master,  which  in  the 
student  would  merely  lead  to  carelessness,  the  background  and  the  floor  are  worked 
over  so  much  that,  without  a vast  amount  of  intelligent  hand-work,  no  process 
block  could  reproduce  the  lines.  Knowing  some  of  Fortuny’s  originals,  I fancy  that 
in  this  reproduction  many  of  his  greys  have  been  lost.  Had  he  lived  later  I have  no 
doubt  he  would  have  somewhat  modified  his  style,  as  Vierge  did,  to  meet  the  re- 
quirements of  process.  Just  as  in  the  Blum  drawing  one  can  see  the  texture  of  the 
coat  with  its  great  buttons  and  silk  lining,  the  sheen  of  the  breeches  and  the  polish 
of  the  boots,  so  one  can  study  these  same  indications  of  texture  in  the  Fortuny 
block.  But  when  you  come  to  the  face  you  find  that  it  is  almost  impossible  to 
follow  the  lines,  they  having  been  made  probably  with  grey  ink,  the  back  of  a quill 
pen,  or  anything  to  be  had,  without  thought  of  reproduction.  The  effect  is  right, 
but  one  cannot  altogether  commend  the  means  by  which  it  has  been  obtained;  the 
drawing  was  done  for  study  and  not  for  reproduction.  But  as  this  is  all  we  have, 
we  ought  to  be  only  too  thankful  for  a drawing  which  has  had  so  much  influence  on 
pen  work.  And  besides  it  is  most  interesting  to. compare  Fortuny’s  methods  with 
Rembrandt’s;  neither  drew  for  reproduction;  both  made  wonderful  drawings  with 
a pen. 

The  prints  show  Fortuny’s  methods  as  well  as  any  other  reproduction.  There 
are  photogravures  in  Davillier’s  Life,  but  they  are  scarcely  important  enough  to 
use  again.  Among  the  other  well-known  reproductions  are  the  engravings  by 
Leveille  one  of  which  I have  used,  which  do  not  show  the  work  at  all;  a very  good 
process  block  in  the  Magazine  of  Art , and  other  blocks  in  V Art  and  La  Vie 
Moderne , and  in  Davillier’s  books.  Beyond  these  I know  of  very  few  published 
examples  of  Fortuny’s  work.  I have  no  doubt  he  made  hundreds  of  drawings. 
They  would  probably  be  found  in  the  portfolios  of  his  friends. 

DANIEL  VIERGE 

AS  Menzel  is  responsible  for  the  development  of  pen  drawing  in  Germany 
and  England,  so  is  Vierge  for  the  present  style  and  the  great  advance  in 
technique  of  draughtsmen  in  France,  Italy,  Spain,  and  America.  I know  that 
Vierge  falls  apparently  under  Sir  Joshua  Reynolds’  condemnation  of  superficial 
cleverness.  But  when  a man  draws  with  Vierge’s  knowledge  and  adds  to  it  his 
skill  in  handling,  his  work  is  something  vastly  more  than  clever,  although  every 
line  might  seem  to  deserve  this  condemnation.  Really  it  is  thought  out  and 
drawn  out,  with  the  greatest  craftsmanship.  Because  Vierge  is  followed  by  a 
number  of  men  in  France,  Italy,  Spain,  and  America,  who,  if  they  lack  his  inven- 
tion, have  added  something  of  their  own — although  they  would  never  have 

'See  Jo  Jefferson  by  Blum,  American  Chapter. 


PEN  DRAWING 

worked  after  his  manner  had  he  not  led  the  way — a certain  number  of  critics,  and 
artists  too,  jump  to  the  conclusion  that  anybody  can  do  this  sort  of  work.  Yet  the 
tact  remains  that  the  number  of  these  men  has  not  increased,  nor  have  any  other 


draughtsmen  been  able  to  surpass  them.  They  in  their  turn  have  had  their  im- 
itators, men  without  the  slightest  knowledge  of  the  means  used  by  Vierge  to 
obtain  his  effects,  but  no  one,  even  among  Vierge’s  immediate  followers,  has  yet 
succeeded  in  equalling  him.  He  is  ignorantly  followed  here  today  by  people  to 
whom  his  name  is  unknown. 

Vierge  doubtless  owed  much  to  Fortuny  and  much  to  Gigoux,  that  early  and 
little-known  Frenchman  of  the  last  century.  The  greater  part  of  his  work,  and 
certainly  the  most  characteristic,  was  done  with  pen  and  ink,  and,  like  Fortuny,  he 
used  the  pen  to  fill  his  drawings  with  delicate  modelling.  But  however  much  he 
learned  from  his  great  countryman,  he  brought  to  his  work  a strength,  a delicacy, 
and  a character  that  were  all  his  own.  From  the  beginning  there  was  no  mistaking 
it  for  that  of  any  other  draughtsman.  Not  that  it  is  in  the  least  mannered;  in  look- 
ing over  the  pages  of  Pablo  de  Segovie  one  is  struck  with  the  entirely  different 
methods  used  in  the  many  drawings.  With  certainty  of  handling  one  finds  the 
most  perfect  modelling  in  the  tiniest  figures  and  faces,  the  most  right  rendering  of 
architecture,  the  most  true  treatment  of  landscape;  and  the  assured  touch  of  the 
master  stamps  every  drawing. 

To  get  the  refinement  given  in  the  little  prints  in  Pablo  de  Segovie , it  was 
necessary  to  make  the  originals  very  largte  and  yet  to  work  with  the  greatest 


33 


OF  SPANISH  AND  ITALIAN  WORK 

amount  of  delicacy.  There  is  next  to  no  cross-hatching  except  in  Vierge’s  later 
work,  done  after  his  illness,  and  therefore  his  drawings  can  be  reduced  to  almost 
any  extent  without  the  lines  filling  up,  one  technical  fact  Vierge  proved,  and  every 


.y'  ■ 


illustrator  must  learn,  in  these  days  of  rapid,  careless  printing.  Still,  in  the  original 
French  edition  of  Pablo  de  Segovie,  the  blocks  were  almost  too  small  to  do  full 
justice  to  his  work,  as  any  one  can  see  by  comparing  them  with  these  larger  re- 
productions in  the  later  editions.  When  he  wished  to  get  a rich  note  he  used  a solid 
black,  in  the  reproduction  of  which  there  is  apparently  no  change,  although  it  is  a 
perfectly  well-known  fact  that  the  whites  of  reproduction  grow  whiter  and  the 
blacks  blacker  as  the  size  decreases.  Another  quality  to  be  noted  is  the  amount  of 
color  suggested  without  the  use  of  it.  Many  of  Vierge’s  later  drawings  are  marred 
by  the  introduction  of  large  splotches  of  pure  black,  neither  put  in  with  a feeling 
for  decorative  balance  nor  color  effect.  This  can  be  most  plainly  and  unfortu- 
nately seen  in  the  later  drawings  in  the  English  edition  of  Pablo.  He  used  tint 


OF  SPANISH  AND  ITALIAN  WORK  35 

backgrounds,  and  Vierge  ordered  them  to  be  used,  and  not  the  photo-engraver,  as 
some  of  his  would-be  critics  and  exploiters  assert. 


There  is  really  very  little  to  be  said  about  Vierge’s  drawings,  except  to  advise 
the  student  to  study  them  in  the  most  thorough  manner;  study  the  various 
methods  by  which  they  are  done,  and  to  remind  him  that  their  sureness  and 
apparent  freedom  are  the  result  of  years  of  the  hardest  study,  and,  in  each  draw- 
ing, of  days  and  sometimes  weeks  of  the  most  careful  work,  and  to  remember  that 
they  were  very  much  larger  than  the  reproductions.  Finally  the  effects  of  light 
and  shade  in  Vierge’s  drawings  of  Spanish  or  southern  subjects  are  utterly  out  of 
keeping  in  drawings  made  in  England  and  the  northern  States.  But  the  skill  is 


36  PEN  DRAWING 

never  out  of  keeping,  and  the  nearer  it  can  be  approached,  the  better  for  the  pen 
draughtsman  and  the  art  of  pen  drawing.  Until  I went  to  Spain  and  saw  Segovia, 
where  he  found  his  backgrounds,  I did  not  know  how  truly  Vierge  had  rendered 
the  architecture  and  the  landscape.  After  his  death — even  before,  the  Pablo  draw- 
ings were  shown.  Finally,  as  no  museum  had  the  sense  to  buy  the  series,  it  was 
broken  up  and  sold. 


G.  FAVRETTO 

ONLY  a study  from  one  of  Fav- 
retto’s  pictures,  but  it  is  useful 
as  showing  how  much  color  can  be 
suggested  with  very  little  work.  Any 
one  can  see  that  the  figures  stand  in 
front  of  a bright,  sunlit,  glittering 
wall,  and  yet  there  is  no  work  on  it 
at  all.  The  plant,  which  tells  so  well 
against  the  wall,  the  bright  colors  of 
the  flowers,  and  the  still  more  brilliant 
colors  of  the  kerchief  about  the  girl’s 
neck,  are  all  rendered  charmingly,  to 
any  one  who  can  feel  them,  in  this 
little  pen  study.  It  is  just  as  much 
Favretto’s  work  as  one  of  his  Venetian 
paintings.  The  only  thing  to  be  re- 
gretted is  that  we  shall  never  have 
any  more  of  it.  Only  how  many 
people — called  artists — can  see  what 
I see — most  cannot,  many  do  not 
want  to. 


37 


OF  SPANISH  AND  ITALIAN  WORK  A.  MONTALTI 

MONTALTI’S  drawing  is  from  Cera  una  Volta , a book  of  Italian  fairy 
tales  published  by  Fratelli  Treves  of  Milan  in  1885 — how  much  better 
work  was  done  then.  The  book  is  a proof  of  the  possibilities  of  pen  work  on 


grained  paper,  which  is  described  in  the  Chapter  of  Materials.  There  is  no 
possible  comparison  to  be  made  between  Montalti’s  drawing  and  the  head  of 
De  Lesseps  by  Ringel,  both  on  grained  scratch  paper,  or  the  Casanova  done  in  the 
same  way.  That  is  a pure  exercise  in  the  rendering  of  a low  relief,  the  Casanova  a 
study;  this  is  an  example  of  decoration  applied  to  book  illustration.  Not  only  does 
it  illustrate  a passage  in  the  story,  but  it  is  given  with  the  greatest  amount  of 


38 


PEN  DRAWING 

decorative  feeling,  and  in  a style  which  proves  that  there  is  no  reason  why  we 
should  be  dependent  on  the  decorative  methods  of  other  times  save  to  carry  on 
tradition.  Conventional  forms  are  the  property  of  the  world.  It  may  be  argued 
that  there  is  no  meaning  in  this  decoration.  Neither  to  me — and  I am  sure  I speak 
for  all  artists  who  are  honest — is  there  meaning  in  nearly  all  decoration  except  that 
of  pleasure  in  the  beauty  of  the  design.  We  may  be  told  in  Smith’s  Classical 
Dictionary , or  in  any  of  those  useful  cribs  much  affected  by  the  cultured  uplift 
artist,  that  such  and  such  mysterious  swirls  and  scrawls  mean  life  and  immor- 
tality, but  we  are  not  impressed  by  this  hidden  meaning;  we  only  look  to  see  if  the 
line  is  well  drawn — we  do,  but  most  do  not;  they  are  impressed  with  the  details 
which  have  nothing  to  do  with  it  at  all. 

Montalti’s  decorations  at  the  side  and  top  of  his  drawing  are  graceful.  They 
may  have  been  derived  from  old  iron-work  or  from  his  inner  consciousness.  The 
result  is  pleasing  and  restful.  The  white  circle  behind  the  girl  may  be  a swirl  of  life 
or  the  bull’s  eye  of  a target;  it  really  is  a proof  that  Montalti  is  an  illustrator  who 
knows  the  requirements  of  his  art.  He  had  used  this  white  circle  for  his  mass  of 
light  which  draws  attention  to  the  figure  of  the  girl;  the  figure  of  the  piping  shep- 
herd is  his  great  black,  and  the  positive  black  and  white  neutralize  each  other.  It 
also  may  be  said  that  the  half-decorative,  half-realistic  daisies  at  the  bottom  of  the 
drawing  are  out  of  place:  nothing  is  out  of  place  in  art  if  the  result  is  good,  and  it  is 
nobody’s  business  but  the  artist’s  how  it  is  obtained.  But  in  this  book  I am  trying 
to  tell  the  student  how  it  is  done. 

The  drawing  was  made  on  the  Fratelli  Treves’  grained  paper,  on  which  I have 
worked,  but  at  that  time  it  was  not  so  good  as  the  Papier  Gillot,  or  Ross  Paper  of 
the  same  sort.  The  original  paper  can  be  seen  in  places  where  the  mechanically 
ruled  horizontal  lines  are  visible.  The  positive  blacks  in  the  decoration,  were 
probably  put  in  with  a pen  first,  as  well  as  in  the  figure  and  the  flowers,  which  no 
doubt  were  done  with  both  pen  and  brush.  Having  gotten  his  darks,  Montalti 
scraped  with  an  eraser  or  penknife  the  light  round  the  shepherd,  and  thus  made  a 
lighter  tone  by  means  of  cross-hatching,  bringing  out  a perpendicular  line  in  the 
grey.  On  these  coated  surface  papers  are  printed  two  or  more  lines  which  may  be 
scratched  out,  and  first  a lighter  tone  obtained;  more  scratching  makes  a white.  He 
then  got  his  high  lights  by  scraping  with  much  more  force,  and  removing  all  the 
tint  from  the  paper,  as  in  the  circle  and  in  the  white  blots  of  the  decoration.  In 
some  places  he  very  probably  used  Chinese  white,  because  you  will  often  find  in 
working  on  this  paper  that  after  scraping  it,  if  you  again  attempt  pen  work,  you 
will  get  blots.  The  drawing  cannot  be  reduced  very  much  in  size,  while  to  obtain 
any  but  mechanical  results  is  difficult. 


OF  SPANISH  AND  ITALIAN  WORK 


39 


MARTIN  RICO 

WING  to  the 
interest  which 
Rico  took  in  this  book 
I am  able  to  publish, 
not  only  three  of  his 
well-known  draw- 
ings, but  two  which  he 
made  for  me.  These 
are  The  Corner  of  St. 
Mark’s,  and  thestudy 
of  Venetian  windows— 
The  Little  Tower. 
The  other  three, origi- 
nally published  in  La 
Illustration  Espanola 
y Americana  are 


4 


42 


PEN  DRAWING 

among  the  best  pen  drawings  Rico  ever  made,  or  any  one  else  ever  made,  of  this 
sort  of  subject. 

The  great  charm  in  Rico’s  work  is  the  grace  of  his  line,  and  the  brilliancy  of 
light  which  he  obtains  with  so  little  work.  Not  only  is  there  not  a superflous  line  in 
his  drawings  but  each  line  is  used,  either  singly,  to  express,  or  together  with  others, 
to  enforce  certain  effects.  In  bright  sunlight,  the  characteristic  of  Italy  and  Spain, 
almost  all  his  drawings  and  paintings  were  made.  In  the  Little  Tower,  the  fact 
of  sunshine  is  not  more  evident  than  the  actual  position  of  the  sun  directly  behind 
the  spectator,  shown  by  the  direction  of  every  line  which  goes  to  make  up  a 
shadow.  Notice  how  he  has  concentrated  his  only  pure  black  in  the  two  open 
windows  near  the  centre  of  the  drawing;  and  yet,  he  has  relieved  this  black  by  bits 
of  pure  white,  in  one  window  by  the  flowers  trained  across  it,  in  the  other  by  the 
charmingly-placed  patches  of  sunlight  just  behind  the  half-closed  shutter  and  on 
the  rich  decorations  which  he  has  indicated  on  the  Venetian  windows.  Notice  too 
the  light,  giving  value  to  the  darks  on  both  sides  of  it,  which  shows  through  the 
crack  between  the  window-frame  and  the  shutter,  see  how  the  light  and  shade  are 
managed  on  the  little  shrine  and  on  the  wall  and  window  under  it,  and  the  way  in 
which  the  light  on  one  wall  is  carried  into  the  shadow  on  the  other  by  the  arrange- 
ment of  the  foliage.  Everything  is  toned  up  from  these  two  blacks;  there  is  not 
another  pure  black  of  importance  in  any  part  of  the  drawing.  The  effect  is  thus 
concentrated  and  your  eye  attracted,  as  he  meant  it  should  be,  to  the  very  centre 
of  the  composition.  You  should  also  study  the  manner  in  which  he  works  out  to  the 
edges  of  the  drawing,  leading  you  into  it  by  the  most  delicate  and  graceful  lines. 
His  architecture  is  only  hinted  and  suggested,  but  so  well  does  he  know  his  Venice 
that  an  architect  could  work  from  his  suggestions,  while  for  an  artist  they  are 
perfect  of  their  kind;  the  capitals,  the  decorated  mouldings  running  around  the 
building,  the  under  side  of  the  cornice,  the  little  shrine,  the  balcony  with  its  pots 
and  vines  and  awning,  are  all  so  well  indicated.  Bits  of  these  things  in  nature  were 
really  as  dark  as  his  two  windows,  but  he  knew  and  every  one  who  wishes  to  make 
a good  drawing  must  learn  that  strength  must  be  reserved  for  one  particular  point 
and  blacks  must  not  be  scattered,  if  an  effective  whole  is  to  be  produced. 

Rico’s  knowledge  of  the  necessity  of  concentration  is  specially  notable  in  the 
drawing  of  the  Canal  with  a Gondola,  in  which  the  inside  of  the  felze , or  cover  of 
the  gondola,  is  the  only  pure  black;  but  is  so  skillfully  managed  with  little  touches 
of  white,  suggestions  of  the  carving,  the  window  on  the  opposite  side  and  the  lamp, 
that  you  do  not  see  it  is  a pure  black,  for  your  eye  is  carried  at  once  to  the  heart  of 
the  whole  drawing — the  large  door  which  is  really  not  so  black  as  the  gondola,  but, 
because  there  are  here  no  opposing  whites,  it  seems,  as  Rico  intended,  much 
blacker. 

In  all  his  drawings  Rico  invariably  breaks  long  straight  lines;  in  each,  how- 
ever, in  a different  manner.  The  long  mouldings  in  the  Little  Tower  are  broken  by 
shadows  and  by  foliage;  in  the  Corner  of  St.  Mark’s,  pigeons  not  only  add  grace, 


OF  SPANISH  AND  ITALIAN  WORK  43 

but  take  away  from  the  monotony  which  would  otherwise,  unavoidably,  be  too 
prominent  in  this  part  of  the  drawing,  and  even  the  waterspout  helps  to  serve  the 
same  purpose.  In  The  Canal,  the  gondolas,  sandolos,  and  other  boats  carry  out  the 
straight  lines  and  break  them  at  the  same  time,  while  the  suggestion  of  foliage  and 
the  balustrade  are  done  as  no  one  ever  did  them  before  Rico;  in  the  Reminiscence 
of  Seville,  the  carved  balcony,  beautiful  in  itself,  would  become  monotonous  were 
it  not  relieved  by  the  rug  thrown  over  it,  by  the  keynote  of  black  supplied  in  the 
head  of  the  leaning  figure,  and  by  the  stone  pine  further  along.  Note  how  thor- 
oughly the  effect  of  a glittering  hot  wall  is  given  by  the  shadow  of  one  drain-pipe, 
and  how  rightly  the  grille  with  the  flower-pots  leads  into  the  drawing. 

The  amount  of  expression  Rico  gets  in  his  rendering  of  reflections  in  water, 
always  drawn  in  very  directly,  is  wonderful.  There  is  absolutely  no  black  in  them, 
except  where,  as  in  The  Canal,  I think  it  is  the  result  of  bad  reproduction.  And  yet 
the  suggestion  of  the  effect  of  a Venetian  canal  is  right.  Here  is  a point  I wish  to 
note:  these  drawings  are  not  intended  to  be  paintings;  they  are  line  drawings  made 
in  brilliant  sunshine.  Do  not  try  to  imitate  them  in  countries  where  the  effects  they 
give  do  not  exist. 

As  to  the  reproduction,  the  plate  and  blocks  are  as  good  as  I can  get  them  and 
give  an  excellent  idea  of  the  drawings.  There  is  a certain  rottenness  about  some  of 
the  lines  which  is  not  in  the  originals,  but  their  relative  value  is  almost  right.  The 
lines  which  appear  very  fine  are  really  so,  and  were  drawn  either  with  a very  fine 
pen  or  the  back  of  the  pen  Rico  was  using.  The  drawings  are  scarcely  reduced. 
They  were  made  in  bluish-black  ink  on  white  smooth  Whatman  paper,  and,  as 
far  as  I can  make  out,  with  very  little  pencil  work,  though  I have  seen  Rico  making 
very  elaborate  pencil  drawings  to  be  inked  over.  He,  however,  was  a master  and 
could  do  what  he  wished,  but  for  the  student  it  would  be  foolish  to  attempt  such 
drawings  without  preliminary  pencil  work — even  with  it,  he  can  hardly  hope  for 
such  results.  I know  of  no  better  models  than  these,  but  it  must  be  remembered 
that  in  process  blocks  many  of  the  blacks  come  from  the  filling  up  in  the  printing, 
and  that  all  lines  thicken  somewhat  in  reproduction. 

To  realize  the  great  development  of  pen  drawing  it  is  only  necessary  to  place 
the  drawings  of  Rico  by  the  side  of  Braun’s  reproductions  of  Canaletto’s  pen  work. 
Rico’s  are  as  much  in  advance  of  Canaletto’s  as  his  were  of  the  drawings  of  every 
one  of  his  predecessors.  Both  artists  are  true;  but  Rico  shows  how  much  more  we 
have  learned  to  express  by  pen  drawing. 

The  drawing  of  the  Corner  of  St.  Mark’s  has  been  very  well  reproduced  by 
Waterlow  and  Sons.  It  was  a difficult  piece  of  work,  but  they  have  succeeded  in 
keeping  the  character  of  the  original. 


46  ANTONIO  FABIIES 


PEN  DRAWING 


MASTERPIECE  of  pen  work,  remarkable  as  a reproduction.  Published 


in  L Art  in  1884,  and  drawn  in  1879  in  Rome,  under  the  influence  of 
Fortuny,  this  drawing  not  only  surpasses  anything  by  Fortuny,  but  has  exerted 
an  enormous  influence  on  pen  drawing,  though  this  may  not  be  known  today. 
Fortuny  never  made  a study  which  can  approach  it  for  technique,  although 
any  one  comparing  it  with  the  Man  Reading  on  another  page  will  see  a great 
similarity.  Fortuny  has  just  as  carefully  studied  the  man’s  embroidered  coat 
as  Fabres  has  the  peasant’s  breeches.  But  Fabres’  rendering  of  the  texture  of  the 
coat,  the  vest,  and  the  trousers  of  the  peasant,  reproduces  much  more  perfectly 
than  Fortuny’s  work,  and  this  is  the  point  to  be  noted.  Again,  Fabres’  head  is 
better  than  the  Fortuny,  and  he  has  boldly  drawn  the  hands  which  Fortuny  shirks. 
His  rendering  of  the  whole  is  more  successful  than  Fortuny’s.  But  Fortuny,  being 
the  original  man,  is  responsible  for  Fabres,  just  as  Fabres  is  for  half  of  French  and 
American  illustration. 

How  is  this  drawing  done?  The  greater  part  of  it,  including  the  most  delicate 
modelling  of  the  head  and  hands  and  legs — -everything,  but  part  of  the  hat  and 
coat  and  a little  of  the  hair,  is  put  in  with  a pen.  The  coat  and  all  the  hair  may 
have  been  drawn  by  dragging  in  various  directions  with  a brush,  allowing  the  ink 
to  run  into  a blot,  and  then  lifting  some  of  it  off  with  his  finger  or  blotting  paper. 
The  hat  most  likely  was  drawn  with  a brush  or  with  his  inked  thumb,  an  amazing 
tool,  the  background  with  both.  On  these  flat  tints,  the  rouletted  effect,  that  is  the 
effect  of  wash,  has  been  produced  by  a roulette  in  the  hands  of  a photo-engraver, 
who  is  an  artist — this  tool  is  described  in  Etchers  and  Etching.  But  this  print  is  a 
most  successful  result  of  a very  unreliable  experiment  on  the  part  of  the  draughts- 
man. With  any  but  a most  skillful  workman,  the  use  of  the  roulette  is  certain 
failure.  I am  very  sorry  that  the  photo-engraver’s  name  is  not  on  the  print.  I 
should  be  glad  to  give  him  credit  for  his  surprising  success.  The  printing  of  such  a 
drawing  is  extremely  difficult.  Do  not  imagine  that  the  apparently  wildly-scrawled 
background  is  composed  of  nothing  but  wild  scrawls.  It  is  indication  and  sugges- 
tion, every  bit  of  which  is  put  down  with  a purpose.  Notice  how  the  background 
grows  out  of  the  deep  shadows  of  the  coat,  and  how  the  wash  and  pen  work  are 
combined  in  the  shadows  between  the  legs;  how  the  wash  work  in  places  is  rein- 
forced by  pen  work,  as  on  the  left  side  near  the  coat  sleeve,  and  how  well  the  effect 
has  been  reproduced.  There  are  other  drawings  by  Fabres  in  L' Art  and  Illustracion 
Artistic  a ^ notably  a photogravure  of  a Moor  with  a gun  over  his  shoulder.  But  I 
do  not  think  any  of  them  compare  with  this.  The  drawing  could  easily  be  repro- 
duced by  half-tone  today — but  it  would  be  difficult  to  get  a line  block  to  equal  it. 
The  original  photo-engravers  were  far  better  than  most  of  the  men  of  the  present. 
At  any  rate  they  cared  more  for  their  work,  and  so  did  good  work. 


A.  CASANOVA  Y ESTORACH 

CASANOVA  was  one  of  those  men  who  seem  to  be  always  amusing  themselves 
with  their  drawings  and  experimenting,  making  a dainty  suggestion  in  one 
place  or  elaborately  working  out  a figure  in  another,  jotting  down  notes  or  trying 
a pen  in  the  most  fascinating  manner  on  the  margin  of  the  paper,  and  always 
wandering  about  over  the  drawing  just  for  pleasure.  But  if  the  student  should 
endeavor  to  imitate  this  freedom  and  to  wander  in  this  way  before  he  has  gone 
through  the  necessary  training,  his  results  will  probably  not  be  so  satisfactory  to 
himself  or  to  the  public.  For  Casanova  told  me  it  took  him  a long  time  to  make  a 
drawing,  and  I can  well  believe  it. 

The  large  process  block  of  the  monks  is  after  one  of  his  pictures,  and  the 
smaller  is  apparently  made  for  his  own  enjoyment.  One  can  say  really  very  little 
about  the  way  such  work  is  done,  but  I should  imagine  it  was  taken  up  and  worked 
on,  a little  here  and  a little  there,  just  when  Casanova  was  in  the  humor,  part  of  it 
done  with  a fine  pen,  part  with  a quill,  part  with  his  fingers;  in  fact  it  is  doubtless 
all  experimenting,  but  the  experimenting  of  a man  who  is  almost  certain  of  the 
results  he  will  obtain.  The  drawing  on  scratch  paper  is  a masterpiece. 

I do  not  publish  his  drawings  so  much  as  examples  of  pen  work  to  be  followed, 
since  it  would  be  almost  impossible  even  to  copy  him,  but  rather  to  show  the  com- 
mand over  the  pen  of  one  of  the  most  accomplished  of  modern  Spaniards — men 
who  have  something  to  say  and  who  say  it  in  a fashion  of  their  own.  Zuloaga  and 
his  other  successors  scarce  seem  to  draw — once  in  a while  they  etch,  but  I know 
of  no  pen  drawings  by  them. 

Casanova  was  not  an  illustrator  but  a painter  who  cared  very  little  about  the 
reproduction  of  his  drawings.  He  knew  that  no  process  save  photogravure  is  able 


7aJu^f 


49 


OF  SPANISH  AND  ITALIAN  WORK 

to  render  them,  for  the  fineness  of  his  lines  and  the  greyness  of  his  ink  made  it  im- 
possible to  reproduce  his  work  and  print  it  with  type.  But  it  is  the  work  of  just 


such  experimenters  which  advances  the  technique  of  the  art  and  its  reproduction. 
Had  it  not  been  for  Menzel  we  probably  never  should  have  had  good  facsimile 
wood-engraving.  Vierge  no  doubt  has  done  more  than  any  one  else  to  develop 
process.  Casanova  was  one  after  whom  wood-engravers  and  process-workers 


An  amazing  example  of  Casanova  s work  drawn  with  pen  and  knife  on  Gillot  scratch  paper 


52  PEN  DRAWING 

struggled  in  vain,  but  this  struggle  in  the  end  will  perfect  wood-engraving  and 
process,  until  we  have  reproductions  which  will  be  as  good  as  photogravures  and 
yet  may  be  printed  with  type.  The  art  workmen  who  look  ahead  are  those  who  are 
really  ol  service  in  the  work;  the  workmen,  that  is,  who  understand  the  methods 
of  the  past  and  can  make  use  of  their  valuable  qualities,  but  who  at  the  same  time 
live  in  the  present  and  make  improvements.  Alas  they  are  few  today — the  Union, 
the  length  of  hours,  amount  of  work,  are  far  more  important  to  them. 

The  engravers  and  printers  did  succeed  in  finally  getting  almost  perfect  re- 
productions, but  for  thirty-five  years,  outside  Germany,  the  world  produced  almost 
no  artists  technically  trained  and  of  supreme  skill  to  inspire  them — and  printing 
and  engraving,  especially  in  America,  have  mostly  become  beneath  contempt, 
where  the  worse  and  more  vulgar  a drawing  is  the  greater  its  popularity. 

B.  Galifore  has  carried  out  the  Casanova  tradition  and  improved  on  it;  there 
is  a feeling  of  largeness  about  his  work  that  is  very  interesting. 


1 


THE  LATER  SPANIARDS  AND  ITALIANS  53 

THERE  is  very  little  to  add  on  the  subject  of  Spanish  and  Italian  pen 
work.  No  new  men  of  great  ability  have  appeared  lately  that  I can  find, 
save  Martini;  while  most  of  the  older  workers  are  dead  or  have  stopped 
drawing  with  a pen. 

This  method  of  expression  which  was  genuine  and  spontaneous  with  Fortuny, 
Casanova,  Rico,  and  Vierge,  apparently  was  but  a fad  and  a fashion  with  their 
followers,  successors,  and  imitators;  while  the  masters  like  Rico  and  Casanova 
ceased  to  produce  black  and  white  work,  or,  like  Vierge,  rarely  made  pen  drawings 
in  their  later  years.  Most  all  are  happily  dead,  they  died  before  the  world  was  lost. 

One  cause  for  the  decline  of  pen  drawing  in  Spain  and  Italy  was  the  revival 
of  wood-engraving  in  those  countries,  though  today  there  are  nothing  but  photo- 
graphs in  the  Spanish  papers.  Methods  in  art  are  a fashion.  Pen  drawing  was  the 
fashion  years  ago.  Though  the  men  who  started  it  were  genuine  in  their  love  of  it, 
the  art  was  encouraged  by  editors  mainly  because  of  its  cheapness  in  comparison 
with  wood-engraving  which,  as  an  art  and  a business,  was  seriously,  from  the 
financial  standpoint,  injured;  but  of  late  engravers  have  taken  to  photographing 
pictures,  for  which  editors  pay  the  artist  little  or  nothing,  on  to  the  plate,  me- 
chanically engraving  them,  and  thus  there  is  even  less  expense  to  the  publisher 
than  is  incurred  by  commissioning  an  artist  to  make  a drawing  in  pen  and  ink,  and 
getting  a photo-engraver  to  reproduce  it.  For  it  is  the  rarest  thing  to  find  an  editor 
intelligent  enough  to  appreciate  two  opposing  forms  of  expression  at  the  same 
moment;  especially  when,  as  in  this  case,  the  proprietor’s  pocket  is  involved,  the 
result  is  the  survival  of  the  cheapest.  Pen  drawing,  I believe,  will  be  revived  again 
in  the  countries  which  have  produced  so  much  good  work,  so  many  good  men,  and 
have  so  greatly  influenced  the  world. 

Independent  and  original  men,  working  in  any  save  the  style  of  the  moment, 
are  not  much  in  evidence;  unknowingly,  I may  have  been  unjust;  I may  have 
omitted  some  Spaniards  and  Italians  whose  work  I should  only  have  been  too  glad 
to  include.  But  the  war  has  prevented  me  from  seeing  even  what  has  been  done. 

J.  GARCIA  Y RAMOS 

TODAY  there  are  signs  of  life  in  Spain,  and  there  is  an  amusing  little 
paper  published  called  Blanco  y Negro,  which  often  contains  good  draw- 
ings. Among  its  contributors  are  two  good  men,  J.  Garcia  y Ramos  and  F. 
Huertas. 

Garcia  y Ramos  has  illustrated  an  important,  elaborate  gift-book,  La  Tierra 
de  Maria  Santissima,  with  many  pen  drawings  reproduced  by  photogravure  and 
process,  but  this  drawing  of  a gipsy  Dance  at  Granada — which  appeared  in 
Blanco  y Negro , is  the  best  thing  of  his  that  I have  seen.  The  drawing  was  on  white 
paper,  and  the  tone  on  it  is  produced  not  by  a screen,  but  by  some  sort  of  aquatint- 
ing— a method  more  or  less  used.  Huertas’  work  is  also  characteristic  both  of  Spain 
and  his  methods  of  work.  He  usually  draws  national  or  local  scenes  and  events. 


54  PEN  DRAWING 

and  occupies  in  Spain,  I should  say,  somewhat  the  same  position  as  Schlittgen  does 
in  Germany,  only  his  drawings  seldom  are  humorous.  I have  not  seen  any  other 


Spanish  drawings  in  pen  and  ink  by  any  other  men  of  distinction  or  originality — - 
and  even  these  two  are  more  or  less  influenced  by  artists  who  are  better  known. 
There  are  illustrated  papers  printed  in  South  America,  but  they  usually  contain 
only  foreign  work. 


OF  SPANISH  AND  ITALIAN  WORK  ALBERTO  MARTINI 


55 


THERE  are  still  brilliant  men  in  Italy  and  Spain  who  occasionally  make 
pen  drawings.  The  only  artist,  however,  who  has  done  any  amount  of 
illustration  in  pen  and  ink  that  I know,  is  Alberto  Martini.  He  has  the 


56  PEN  DRAWING 

same  sort  of  mind  as  Beardsley — or  rather  is  a product  of  Beardsley,  but  while 
most  men  only  prig  and  steal  from  that  genius,  or  try  to,  Martini  really  has 
much  to  say  for  himself  and  in  his  own  way.  I have  seen  little  of  his  work  since 
the  war  and  during  the  war  he  gave  himself  to  propaganda  of  a forcible  sort,  but 
before  the  war  his  illustrations  to  Poe  gave  him  a name  in  Italy.  The  interesting 
point  about  his  work  is  the  way  in  which  he  contrasts  great  masses  of  black  with 
the  most  delicate  lines. 


OF  PEN  DRAWING  IN  FRANCE  CHAPTER  III 

IT  used  to  be  the  fashion  to  speak  of  French  drawings  as  tricky;  now  they 
are  become  the  source  of  all  inspiration.  I am  not  quite  sure  what  this 
tricky  may  have  meant,  but  I am  certain  that  in  French,  as  in  Spanish 
design,  dull  mechanical  work  was  done  away  with,  and  brilliant  handling 
took  its  place  for  a time.  To  France  we  owe  much  of  the  idea  of  getting  great 
artists  to  put  good  work,  their  best  work,  into  book  illustration:  that  is,  the  plan 
of  getting  good  men  to  draw  on  the  wood  for  the  engraver;  but  after  these  draw- 
ings were  put  upon  the  blocks  they  had  to  be  cut.  And  to  England  and  Bewick 
belongs  the  art  of  wood-engraving,  though  Papillon,  the  French  wood-engraver, 
claims  to  have  invented  it.  In  1830  France  possessed  great,  if  not  her  greatest 
artists,  England  her  best  wood-engravers;  and  it  was  the  international  artistic 
union  of  the  two  countries  about  1825,  which  enabled  French  publishers  to  issue 
a series  of  books,  that  in  some  ways  have  never  been  equalled  since.  Cumer’s 
edition  of  Paul  et  Virginie  and  La  Chaumiere  Indienne  illustrated  by  Huet,  Jacque, 
Isabey,  Johannot,  and,  above  all,  Meissonier;  engraved  mainly  by  Andrews, 
William,  C.  and  J.  Thompson,  and  Orrin  Smith,  though  Best,  Breviere,  Lavoignat, 
and  Leveille  among  others  worked  on  it,  as  an  example  of  united  work  by  many 
hands  has  never  been  surpassed  in  any  country.  That  was  a real  and  not  a senti- 
mental entente  cordiale — it  produced  art,  the  last  degeneracy.  And  though  Meis- 
sonier’s  Contes  Remois  and  Menzel’s  Frederick  are  greater  works,  they  are  but  the 
outcome  of  Cumer’s  Paul  et  Virginie , and  would  never  have  been  undertaken 
without  his  incentive.  He  owes,  it  is  true,  his  inspiration  to  Johannot’s  Roi  de 
Boheme , to  Gigoux’s  Gil  Bias , and  the  other  illustrated  works  which  immediately 
preceded  it,  but  the  Paul  et  Virginie  is  as  great  an  advance  upon  these  books  as 
they  were  upon  those  which  preceded  them,  the  work  of  the  printers  of  Lyons.  It 
is  from  the  French  books  of  1825  that  modern  illustration  springs.  Bewick,  Clen- 
nell,  and  the  Thompsons  invented  wood-engraving;  Meissonier,  Jacque,  Gigoux, 
and  T.  Johannot  drawing  for  the  engravers;  and  it  was  this  union  of  artists  who 
could  draw,  and  engravers  who  could  engrave,  that  made  the  French  book  of  1825 
to  1845  possible.  Although  Menzel  was  quick  to  perceive  the  possibilities  of  the 
art,  he  owed  his  inspiration  to  France,  and  his  first  work  was  engraved  by  French- 
men; and  although  England  contributed  the  engravers  in  the  beginning,  the  really 
great  English  illustrated  books  did  not  appear  till  after  those  of  France,  but  when 
they  did  appear,  in  the  landscape  work  at  least,  they  equalled,  if  they  did  not 
surpass,  the  French.  While  I believe  that  the  Penny  Magazine  was  almost  the  first 
illustrated  journal  issued  in  1832,  it  did  not  by  any  means,  in  artistic  excellence, 
approach  Le  Magazin  Pittoresque  which  contains  Meissonier’s  Deux  Joueurs , 
engraved  by  Lavoignat,  a block  which  for  drawing  and  engraving  it  would  be  hard 
to  improve  upon  today.  At  the  same  time  that  the  great  Spaniards  were  beginning 
to  be  famous,  Detaille  and  De  Neuville  appeared  in  France,  to  carry  on  the  work 
of  illustration.  They  studied  under  Meissonier,  and  in  De  Neuville’s  Coups  de 
Fusil  one  notes  the  influence  of  Les  Contes  Remois. 


58 


PEN  DRAWING 

Even  before  Meissonier,  Paul  Huet  had  already  given  signs  of  the  coming 
change.  But  his  drawings  were  not  really  appreciated  until  after  his  death,  when 
they  were  looked  upon  as  revelations  and  purchased  by  the  State.  Rousseau,  when 
he  took  a pen,  was  too  careless,  or  I suppose  some  would  say  too  old-masterish,  to 
care  about  line,  but  he  managed  his  blacks  effectively  in  his  wood  interiors.  Millet, 
too,  worked  with  a pen,  especially  a quill,  not  exactly  as  the  old  men  did,  but  still 
with  simplicity,  making  a few  lines  tell  a whole  story  and  exceedingly  well,  too. 
Dore  produced  hundreds  and  probably  thousands  of  pen  drawings;  but  I suppose 
it  is  now  almost  universally  admitted  that  his  facility  killed  his  art,  as  it  eventually 
killed  him.  Not  only  this,  but  the  greater  part  of  his  work,  was  done  for  the 
engraver  and  done  in  pencil  or  wash. 

Looking  at  great  illustrators  like  Meissonier,  Menzel  and  Vierge,  one  is  struck 
by  the  fact  that  their  most  important  work  is  in  line  drawing.  With  the  majority 
of  Frenchmen,  pen  drawing  was  the  means  of  giving  the  public  an  artistic  render- 
ing of  their  Salon  work  in  black  and  white.  It  has  also  been  used  in  this  way  in 
England,  but,  as  a rule,  in  anything  but  an  artistic  manner.  In  America  following 
France  in  the  80’s  we  had  a school  of  pen  draughtsmen,  but  the  tradition  is  lost, 
the  school  is  dead.  De  Neuville  and  Detaille  and  hundreds  of  others  drew  in  pen 
and  ink  with  added  wash,  not  that  the  pen  was  to  them  of  any  special  importance; 
it  simply  happened  to  be  the  medium  that  was  the  fashion.  Their  sketches  were 
really  a working-out  of  the  old  projects’  and  intentions’  scheme.  With  the  intro- 
duction of  photo-engraving,  the  publication  of  L' Art  and  Salon  catalogues,  and 
the  coming  of  the  Spaniards,  the  latest  change  to  process  came  in  France.  The 
Frenchmen,  luckily,  were  able  to  adapt  their  style  to  the  new  requirements. 

In  De  Neuville’s  well-known  drawings  of  war  subjects,  as  in  Meissonier’s 
work,  there  is  the  most  careful  modelling,  obtained  by  simple  and  direct  means. 
Hamerton  devoted  much  space  to  justly  praising  his  Coups  de  Fusil , published  by 
Carpentier,  but  to  praise  De  Neuville  and  to  omit  Detaille  is  to  slight  an  artist 
who  is  no  less  brilliant  as  a pen  draughtsman.  And  to  write  of  these  two  men  and 
omit  Jeanniot,  who  is  far  better,  was  an  inexcusable  oversight. 

Jeanniot  is  the  leading  French  pen  draughtsman.  He  paints,  but  he  is  more 
of  a pen  draughtsman  than  a painter,  and  therefore  should  be  ranked  above  these 
two  better-known  men  who,  owing  to  the  magnificent  series  of  photogravure 
reproductions  of  their  paintings  published  by  Goupil,  acquired  a widespread  popu- 
larity. Jeanniot  has  devoted  himself  almost  exclusively  to  illustrating  magazines, 
and  showing  French  life.  I hardly  know  where  or  when  he  began  to  draw,  but  the 
first  numbers  of  La  Vie  Moderne  are  filled  with  his  work.  Exactly  the  same  can  be 
said  of  Adrien  Marie  and  Renouard.  Of  late  most  of  the  work  of  Renouard,  how- 
ever, is  in  chalk  and  pencil  and  etching.  He  made  the  finest  dry  point  of  the  War. 
Mars  also  has  done  much  for  English  papers,  with  his  rendering  of  life  on  the 
seashore,  and  his  charming  children  and  their  fashion-plate  mothers.  He  and 
Gyp,  even  more  popular,  used  to  fill  the  weekly  journals. 


OF  PEN  DRAWING  IN  FRANCE  59 

At  one  time,  in  almost  every  number  of  La  Vie  Moderne , was  to  be  seen  work 
which,  though  the  artists’  names  might  be  unknown  outside  of  France,  was  good. 
The  same  could  be  said  of  an  innumerable  host  in  Paris  Illustre , Le  Petit  Journal 
pour  Rire , La  Vie  Parisienne , L' Illustration,  Le  Monde  Illustre , Revue  Illus tree, 
Le  Courrier  Frangais,  Le  Rire;  or  if  you  looked  any  week  in  books  which  bear  the 
little  card  Vient  de  Paraitre , you  would  probably  find  in  their  pages  some  exquisite 
little  gem  by  a man  you  never  heard  of  before.  Alas  no  longer,  only  suggestion,  rank 
color,  sham  Beardsleys  and  photos.  Almost  every  French  pen  draughtsman  made 
the  books  and  papers  of  yesterday — whether  big  or  little,  comic  or  serious, 
important  or  frivolous — beautiful  and  worthy  of  study.  The  early  volumes  of  La 
Vie  Moderne , L'  Art,  Le  Courrier  Frangais,  Le  Rire  and  L'  Assiette  au  Beurre  are 
the  best  masters  that  any  pen  draughtsman  could  have. 

It  would  be  much  easier  to  name  the  French  artists  who  cannot  draw  with  a 
pen  than  those  who  can.  However,  among  the  better-known  draughtsmen  were 
Duez,  whose  brilliant  sketches  transfer  scenes  from  the  theatre  to  the  pages  of  the 
theatrical  papers;  Jean  Beraud  makes  interesting  interiors;  Maurice  Leloir  has 
given  us  a new  Sterne;  Auguste  Lan^on’s  drawings  of  animals  have  strength  and 
vigor;  Lucien  Gautier  can  make  a bronze  statuette  or  a marble  group  with  a 
sunlight  glowing  on  its  surface  and  the  shadows  hiding  in  its  undercutting,  real 
for  us  in  L' Art;  Bracquemond,  the  etcher’s  head  and  tail  pieces  are  charming, 
while  his  little  sketches  are  as  fine  as  those  of  the  Japanese  from  whom  he  was 
among  the  first  to  learn;  Ringel,  the  modeller,  who  seems  able  to  do  anything,  and 
whose  drawings  after  his  own  plaques  are  the  most  true  that  have  been  made; 
H.  Scott  was  a delightful  architectural  draughtsman;  E.  Adan  renders  his  own 
pictures  well;  Rochegrosse,  Mme.  Lemaire,  Edmond  Yon,  Robida,  who  is  very 
popular  as  a caricaturist  and  an  artistic  traveller;  Brunet-Debaines,  who  was  one 
of  the  first  to  show  Englishmen  what  pen  drawing  for  process-reproduction  should 
be;  Habert-Dys  draws  an  initial  or  the  border  of  a page  with  most  effective 
brilliancy  by  means  of  almost  pure  blacks  and  whites;  graceful  swallows  flit  about 
chimney-pot  initials,  Japanese  dolls  tumble  all  around  the  text,  perfect  oriental 
feeling  pervades  his  head  and  tail  pieces,  and  all  his  work  is  suffused  with  his  own 
personality;  Legrand,  Forain,  Steinlen,  Willette — -they  are  big  men  though  they 
mostly  draw  with  chalk. 

There  is  one  Frenchman  who  stands  apart  from  all  these  men,  and  who  was 
the  landscape  pen  draughtsman  of  France.  This  is  Maxime  Lalanne,  who  died  full 
of  honors,  if  not  of  years.  Without  his  drawings  Havard’s  Hollande  would  be  dead 
as  the  cities  of  the  Zuyder  Zee.  His  bird’s-eye  views  have  made  them  live  again. 
For  quick,  bright,  strong  incisive  work,  for  getting  at  the  essence  of  a thing  with 
sharp,  short,  brilliant  strokes,  perhaps  no  one  can  equal  him.  The  only  possible 
drawback  is  that  there  is  too  much  Lalanne  in  it.  He  knew,  if  anything,  too  well 
what  he  was  going  to  do.  He  can  hardly  be  called  mannered,  because  a mannered 
man  cares  nothing  for  nature  with  its  variety  and  subtlety,  while  Lalanne  really 


60 


PEN  DRAWING 

did  care  and  makes  you  feel  that  he  cared.  I may  perhaps  best  explain  what  I mean 
by  saying  that  Rico  in  his  work  seems  to  ask,  “Is  this  the  way  a tree  or  a bit  of 
water  ought  to  look?  I think  it  is;”  while  Lalanne  in  his  is  more  positive:  “This  is 
the  way  the  tree  or  bit  of  water  looks;  I know  it,”  he  seems  to  say.  He  is  almost 
too  sure  ol  himself. 

In  speaking  ol  French  pen  drawing  one  cannot  help  noticing  that  a few  years 
ago  it  was  the  fashion  in  Paris  to  draw  with  the  pen  for  reproduction — a fashion, 
started  by  the  Spaniards,  then  living  there.  The  work  of  the  French  artists, 
although  not  so  brilliant  as  that  of  the  Spaniards,  was  good,  direct  and  careful. 
At  the  same  time  the  attraction  of  the  French  magazines  and  journals  was  that 
week  alter  week  Vierge,  his  brother  or  his  followers,  contributed  most  striking 
drawings.  But  since  the  introduction  of  the  half-tone  processes  much  of  this  work 
has  been  given  up,  and  only  those  artists  who  care  for  line  and  the  quality  to  be 
gotten  with  a pen  still  make  pen  drawings.  What  has  given  that  which  is  known 
as  French  art  its  reputation  with  art  students  and  art  lovers,  is  that  it  is  not 
French  art  at  all,  but  the  art  ol  the  whole  world;  for  there  is  not  the  slightest  doubt 
that  the  work  of  the  greatest  artists  of  the  day  is  to  be  seen  at  one  time  or  another 
in  Paris,  which  is  the  art  metropolis.  The  Salon  is  really  the  broadest  and  most 
varied  exhibition  in  the  world,  and  far  less  French  than  the  Royal  Academy  is 
English.  The  National  Academy  is  nothing  at  all.  Venice  is  the  most  interesting 
show  to  day. 

Almost  every  French  pen  draughtsman  to  whom  I have  referred  is  a well 
known  painter.  11  you  take  up  an  old  Salon  catalogue,  you  find  it  full  of  pen 
drawings,  pictures  themselves.  Of  these  I have  given  several  as  examples  of  good 
reproductive  work.  Indeed,  the  list  of  the  greatest  pen  draughtsmen  is,  as  I said 
ol  the  Spaniards,  the  list  ol  the  great  painters.  The  fashion  of  illustrating  cata- 
logues commenced  seriously  in  France,  and  grew  and  developed  there  under  L' Art, 
La  Gazette  des  Beaux  Arts , and  the  publishers  of  the  Salon  catalogue,  until  its 
influence  made  itself  felt,  in  England  and  America,  though  very  little  ol  the 
French  feeling  has  been  retained.  The  French  work  was  done  lor  the  sake  of  the 
drawing;  the  English  and  American  catalogues  were  but  inartistic  reading  books 
for  the  artless.  There  have  been  some  exceptions.  Some  good  drawings  have  been 
made  for  English  catalogues,  just  as  of  late  years  the  Salon  catalogues  have  been 
given  over  to  less  able  draughtsmen  and  now  to  photography  for  this  reason:  at 
the  present  artists  have  their  paintings  reproduced  by  half-tone.  First  because 
most  ol  them  can’t  draw  and  most  of  the  rest  are  too  busy  or  too  lazy.  In  some 
ways  this  is  unfortunate  for  pen  drawing;  in  others  it  is  fortunate,  since  it  helps 
to  confine  pen  drawing  to  its  proper  sphere,  which  is  not  the  reproduction  of  tone, 
but  of  line.  The  publication  of  L' Art  and  these  catalogues  not  only  created  a 
school  of  French  pen  draughtsmen,  whose  sole  work  it  was  to  reproduce  other 
men’s  art,  but,  so  powerful  was  its  influence,  that  it  produced  a few  English  and 
American  artists,  who  for  a time  did  very  fine  work  ol  the  same  kind,  but  of  them 


61 


OF  PEN  DRAWING  IN  FRANCE 

I shall  speak  in  the  English  and  American  chapters.  It  is  owing  to  the  same 
influence  that  the  finest  catalogues  ever  issued  have  been  published  in  America, 
and  that  in  this  country  catalogue-making  and  advertising  became  a fine  art — 
before  they  degenerated  into  “Commercial  art’’ — lessness.  Yet  there  are  signs  of 
revival. 

If  the  healthy  black  and  white  art,  which  was  the  art  of  the  nineteenth 
century  could  be  put  into  advertisements,  catalogues,  the  daily  and  weekly  papers, 
journals  and  magazines,  today  in  the  twentieth  century,  which  the  people  really 
would  appreciate,  understand,  and  care  for,  as  they  once  did,  I believe  it  would 
do  just  as  much  good  as  pictures  buried  away  in  churches,  that  the  people  look 
and  wonder  at  through  the  eyes  of  a guide-book  or  of  a cackling  docent,  the 
beauties  of  which  seeing,  they  do  not  perceive,  and  the  meaning  of  which  hearing, 
they  do  not  understand;  but  they  are  debauched  by  the  comics  and  movies,  bored 
by  uplift  and  see  no  longer. 

My  many  sins  of  omission  and  commission  I hope  may  be,  to  some  extent, 
overlooked.  Among  the  illustrations  will  be  found  the  work  of  the  comic,  humorous 
people,  as  well  as  those  who  are  in  the  full  swing  of  the  latest  movement,  the 
mysticists,  the  symbolists,  even  the  cubists,  futurists,  or  other  ists  or  asses.  Now 
I have  reflected  the  last  will  not  be  found,  for  they  are  of  no  use  to  the  student 
and  a bore  to  the  artist,  a snare  to  the  collector,  a curse  to  art.  So  I have  omitted 
them  from  this  chapter — and  given  them  a place  to  themselves. 


PEN  DRAWING  IN  FRANCE  ILLUSTRATIONS  J.  L.  E.  MEISSONIER 

THOUGH  Meissonier  and  Menzel  were  born  about  the  same  time,  there  is  no 
doubt  that  Meissonier  was  the  first  of  modern  illustrators,  that  is,  the  first  of 
moderns  to  make  pictures  on  wood  in  line,  which  were  cut  in  facsimile,  either  by 
the  Englishmen  who,  following  Charles  Thompson,  went  to  France,  or  by  the 


Frenchmen  like  Breviere  and  Lavoignat  who  studied  with  them.  The  most 
important  book,  published  about  1828,  was  Cumer’s  edition  of  Paul  et  Virginie 


63 


OF  PEN  DRAWING  IN  FRANCE 

and  La  Chaumiere  Indienne  with  more  than  one  hundred  drawings  by  Meissonier. 
At  the  same  time  Meissonier  was  contributing  work  to  Le  Magazin  Pittoresque , 
and  a little  later  Les  Deux  Joueurs  appeared  in  that  journal;  this  print  today 
is  an  excellent  example  of  drawing  and  engraving,  as  may  be  seen  from  the 
reproduction. 

From  Paul  et  Virginie  there  is  no  doubt  that  Menzel  obtained  his  knowledge 
of  the  possibilities  of  wood-engraving.  But  to  Meissonier  and  the  romanticists 


i i 


must  be  given  the  credit  of  inventing  modern  illustration,  and  to  the  English 
engravers  the  credit  of  cutting  their  drawings,  as  nearly  as  they  could,  not  to  look 
like  steel  engravings  which  were  the  fashion,  but  like  the  designs  made  on  the 
blocks  by  the  artists.  Meissonier’s  most  important  work,  however,  was  not  done 
until  1858,  when  his  illustrations  to  Les  Contes  Remois  appeared,  engraved  by 
Lavoignat  and  Leveille.  This  book  has  never  been  surpassed  in  drawing  and 
engraving  on  wood,  and  considering,  that  save  the  others  to  which  he  had  con- 


64 


PEN  DRAWING 

tributed,  some  years  earlier,  nothing  approaching  it  had  been  done,  Meissonier 
must  be  acknowledged  to  be  the  inventor  of  modern  design  as  Bewick  is  the 
inventor  of  modern  wood-engraving.  These  drawings  from  the  Contes  Remois  are 
the  best  things  that  Meissonier  made;  and  in  their  way  no  one  has  improved  on 
them.  How  much  better  they  were  than  the  engravings  we  shall  never  know.  But 
the  engravings  are  the  standard  which  one  should  follow  for  the  decoration  of  the 
printed  pages  by  wood-engraving.  They  are  somewhat  lost  here,  as  they  were 
intended  lor  a much  smaller  page. 


EDOUARD  DETAILLE  AND  A.  DE  NEUVILLE 

NOTHING  has  been  more  of  a surprise  to  me  in  preparing  this  book  than  to 
find  how  comparatively  few  pure  pen  drawings  have  been  made  by  two  men 
so  well  known  lor  black  and  white  work  as  De  Neuville  and  Detaille.  I have  not 
forgotten  that  I have  said  I care  little  whether  a drawing  is  “pure”  pen  work  or 
not,  and  there  are  many  drawings  in  the  book  where  wash  is  used  with  the  pen 
work.  Nothing,  however,  but  a “pure”  pen  drawing  can  be  reproduced  with  so 
little  labor  and  without  hand  work.  These  two  men  studied  under  Meissonier 
before  the  coming  of  process,  and  they  drew  on  the  wood;  therefore,  though  their 
work  was  well  reproduced,  it  made  very  little  difference  whether  there  was  a wash 
on  it  or  not.  During  the  last  forty  years,  in  which  their  reputation  has  been  made, 
and  De  Neuville  unfortunately  has  died,  though  they  have  done  a vast  amount 
ol  work  lor  reproduction — in  fact,  almost  all  their  work  was  intended  for  this 
purpose — it  has  been  for  reproduction  by  photogravure,  either  in  color  or  in 
black  and  white,  from  their  paintings  and  not  from  their  line  drawings. 

One  drawing  by  Detaille  is  a sketch  ol  the  principal  figure  in  his  painting 
L’Alerte,  and  though  it  was  exhibited,  as  are  hundreds  ol  his  and  De  Neuville’s 
drawings,  it  is  a sketch  of  projects  and  intentions,  and  no  better  than  many  of  the 


OF  PEN  DRAWING  IN  FRANCE  65 

old  men  could  have  done.  The  drawing  is  good,  and  the  action  and  movement  of 
the  man  and  horse  are  very  well  expressed.  But  it  is  filled  with  careless  blots  and 


smudges.  It  is  the  sketch  of  a master,  done  for  his  own  use,  though  he  is  willing 
to  show  it.  The  other  drawing  is  full  of  character.  A glance  at  the  work  of  Jeanniot 
or  Haug  and  Luders  will  show  that  Detaille’s  drawing  is  a study,  theirs  are  for 
exhibition.  Having  followed  the  methods  of  years  ago,  and  having  met  with  suc- 
cess in  other  ways,  he  had  never  paid  the  necessary  attention  to  modern  illustra- 
tive methods.  From  his  standpoint  there  is  no  reason  why  he  should.  He  paints 
for  reproduction,  and  in  the  reproductions  published  by  Goupil,  from  the  cheapest 


66  PEN  DRAWING 

to  the  most  expensive,  his  work  is  rendered  very  well.  No  one  today  knows  more 
about  painting  for  reproduction  than  Detaille.  He  is  one  of  the  men  who  have 
given  up  pen  drawing  because  their  wash  drawings  can  be  mechanically  engraved 
equally  well.  In  his  great  work,  L' ' Armee  Franqaise , there  are  scarcely  any  pen 
drawings  at  all.  All  this  applies  to  De  Neuville. 


OF  PEN  DRAWING  IN  FRANCE 


67 


MADELEINE  LEMAIRE 

1AM  not  yet  sure  whether  I should 
have  selected  this  charming  figure  of  a 
flower-girl,  or  one  of  Madame  Lemaire’s 
studies  of  flowers,  which  she  renders 
with  more  color  and  less  work  than 
even  Alfred  Parsons,  though  I cannot 
think  she  gives  as  much  attention  to  the 
delicacy  of  each  individual  form  and  the 
expression  of  its  growth.  But  there  is  no 
doubt  to  her  right  to  a place  as  a figure 
draughtswoman.  There  is  a refinement 
of  drawing  and  a rendering  of  color  in 
a simple  fashion,  which  is  delightful. 
Madame  Lemaire’s  designs  are  only 
notes  of  her  pictures,  but  notes  of  a 
most  artistic  sort.  The  principal  quali- 
ties to  be  studied  are  the  simplicity  of 
line  and  the  grace  of  handling.  Why  do 
not  fashion  plate  artists  draw  like  this? 
Maybe  they  would  if  they  could. 


68  E.  DANTAN 


TEN  DRAWING 

DANTAN  is  a consummate  master  of  technique  yet  a man  who  has  given  the 
world  very  little  pen  drawing — at  least  very  little  that  I have  been  able  to 
find.  In  the  original  painting  the  greatest  thought  was  for  the  scheme  of  light,  the 
posing  of  the  figures,  and  the  arrangement  of  the  details.  But  to  suggest  this  in 
pen  and  ink  without  over-elaboration  is  quite  wonderful.  The  reserving  of  blacks 
here,  as  in  all  other  good  drawings,  will  be  noted.  But  his  great  success  is  the 
rendering  of  the  greys,  and  the  flesh  tints  of  the  model  in  the  foreground.  You  feel 
the  difference  between  the  relief  on  which  the  sculptor  is  working,  the  little 
colored  figure,  the  model  herself,  and  the  cloth  which  carries  the  light  from  the 
relief  down  her  arms  on  to  the  box  where  she  is  sitting.  All  is  produced  by  the 
most  simple  means,  and  yet  the  different  surfaces  are  perfectly  suggested.  It  can- 
not be  said  there  is  any  great  brilliancy  of  handling;  the  drawing  in  places  might 
be  much  better.  The  model’s  hands  and  one  of  the  sculptor’s  are  probably  not  up 
to  those  in  the  picture.  But  this  drawing  should  be  studied  mainly  for  its  sugges- 
tion of  color,  and  for  the  very  careful  and,  at  the  same  time,  very  artistic  manner 
in  which  Yves  and  Barret  have  engraved  it.  The  skillful  use  of  cross-hatching  by 
the  engraver  has  contributed  in  many  places  to  the  successful  rendering  of  the 
character  of  the  different  surfaces.  And  yet  in  some  of  the  most  difficult  passages, 
notably  in  the  model  herself,  there  is  none  of  this  hand  work;  the  right  effect  is 
entirely  in  the  drawing.  But  alongside  the  model,  look  at  the  delicate  way  in 
which  Dantan’s  name  is  engraved.  It  might  be  remarked  that  this  is  too  trivial  to 
notice;  but  it  is  such  apparent  trivialities  that  make  the  difference  between  good 
and  bad  engraving. 

The  outlines  of  the  figure  on  the  relief  are  somewhat  rough  and  hard.  I think 
they  should  have  been  cut  down  and  thus  softened.  The  hardness  is  probably  due 
to  a defect  in  the  block.  As  it  is,  the  outlines  catch  one’s  eye  unpleasantly.  As  to 
the  rendering  of  the  canvases  in  high  light  above  the  relief,  the  plaques  and  reliefs 
on  the  wall  which  runs  at  right  angles  to  it,  at  the  left  hand  of  the  drawing,  I 
think  the  surfaces  and  the  color  and  texture  suggested  are  worked  out,  though 
unobtrusively,  as  well  as  the  principal  motive  in  the  picture.  But  every  part  of 
this  drawing  is  worthy  of  the  most  careful  and  thorough  study. 

Dantan  assured  me  that  the  drawing  was  his  work,  but  it  is  extraor- 
dinary that  a man  who  has  shown  so  little  pen  work  should  get  such  perfect 
results.  I have  no  doubt  that  he  is  responsible  in  a great  measure  for  the  careful 
engraving,  and  therefore  it  is  almost  presumptuous  of  me  to  offer  any  criticism 
upon  it.  This  drawing  is  but  another  proof  of  what  I have  asserted:  if  an  artist  can 
reproduce  his  own  picture  in  pen  and  ink  artistically,  he  produces  not  only  a 
valuable  record  but  a new  work  of  art.  It  is  to  this  drawing,  as  much  as  to  the 
picture  itself,  that  Dantan  owes  his  fame. 


NvxKTva -j 


70  P.  G.  JEANNIOT  PEN  DRAWING 

JEANNIOT’S  work  comes  perfectly  by  process.  By  the  simplest  means  he 
obtains  the  best  results.  In  this  little  drawing  of  the  boulevards  at  night  with  a 
kiosque ; the  light  which  comes  from  it,  the  lights  of  the  shop  windows,  and  their 
reflections  on  the  wet  asphalt,  are  given  as  well  as  if  the  drawing  was  made  in 
wash.  There  is  no  over-elaboration  and  unnecessary  work.  The  tones  are  suggested 
in  a remarkable  way.  They  are  all  wrong,  but  they  give  the  right  effect.  So  the 
little  drawing  should  be  carefully  studied;  it  is  easy  to  see  that  there  are  too 
many  black  splotches  which  may  have  been  greys  in  the  original,  but  have, 
through  careless  reproduction,  come  as  blacks  in  the  print. 

Then  take  the  drawing  of  the  soldiers  drilling.  Randolph  Caldecott  never  did 
a better  dog  than  the  one  standing  in  the  foreground  looking  at  the  officer,  while 
the  recruit  close  by  is  simply  the  thing  itself.  Look  at  the  character  in  the  awkward 
squad,  in  all  the  spectators,  in  the  officers.  The  houses  in  the  background  are  care- 
less. They  might  have  been  suggested  much  more  truly  with  no  more  work.  But 
the  figures  are  delightful  in  character,  and  every  line  shows  thought.  But  who 
thinks  of  line  today — who  thinks  of  anything  save  how  little  he  can  do,  how 
much  he  can  make. 

Jeanniot  has  illustrated  many  books  and  papers,  La  Vie  Moderns,  La  Revue 
Illustree.  The  book  by  which  his  work  has  been  made  most  widely  known  is  the 
Dentu  edition  of  Tartarin  de  Taras  con , which  contains  a large  number  of  his  pen 
drawings. 


F.  LUNEL 

FINE  examples 
of  splatter 
work  and  mechan- 
ical tint,  as  well  as 
excellent  portraits 
of  places. 


74  J.  L.  FORAIN  PEN  DRAWING 

DECORATED,  sent  on  a special  mission  with  Paul  Bourget  to  America, 
written  about  by  Daudet,  cartoonist  of  Le  Figaro , war  artist,  Forain  may 
certainly  be  said  to  have  arrived.  How  much  of  all  this  is  due  to  his  subjects,  how 
much  to  the  legend  which  goes  with  them,  how  much  to  his  skating  on  the  thinnest 
of  thin  ice,  which  bends  and  cracks  almost  to  the  suppression  of  the  papers  at 
times  in  which  his  illustrations  appear,  is  not  my  affair.  All  I am  concerned  with 
is  how  much  art  there  is  in  his  power  of  omitting  lines,  in  his  concentration  of 
effect,  in  his  ability,  as  Daudet  has  said,  de  re sumer , dans  un  geste,  et  dans  une 
phrase , a la  frangaise , vingt  pages,  not  only  of  criticism,  but  an  epoch  of  fashions, 
morals,  and  immorality,  properly  regulated  in  France. 

His  simplicity  of  line  and  his  power  of  expression  with  that  simple  line  are 
wonderful.  Still  at  present  I feel  that  he  has  carried  the  simplicity  of  the  Japanese, 
from  whom  all  this  is  derived,  too  far.  His  line  at  times  has  become  meaningless 
and  without  beauty — not  that  it  ever  had  much  of  the  latter  quality.  But,  while 
one  may  love  the  line,  equally  simple,  of  Hokusai,  one  is  bored  at  times  with  that  of 
Forain,  though  one  wonders  at  the  result  he  gets  with  his  apparently  clumsy 
method.  Forain  deliberately  ignores  all  flexibility  of  line;  each  seems  put  down 
with  an  unyielding  point,  and  yet  the  result  is  amazing.  He  uses  much  wash,  chalk, 
or  crayon  in  his  work,  which  comes  well  by  process,  in  the  daily  papers.  This  is  one 
of  his  important  drawings,  well  engraved  by  Florian,  in  which  Forain  has  used  all 
sorts  of  mediums;  and  yet  one  can  note  perfectly  the  pen,  the  wash,  and  the  chalk, 
so  well  has  the  engraver  preserved  each  in  the  print.  Forain  has  illustrated  much 
for  Gil  Bias,  L' Echo  de  Paris,  Figaro,  The  New  York  Herald , Le  Courrier  Frangais, 
and  other  papers.  Volumes  of  his  designs  have  been  printed,  among  which  are 
Album  de  Forain,  La  Comedie  Parisienne , Les  temps  difficiles,  Vous,  Eux,  etc., 
while  in  the  war  he  made  many  lithographs,  mostly  not  very  important. 

Though  he  is  a master  of  design  as  well  as  of  execution,  he  is  a delusion  and 
a snare  to  any  one  not  so  brilliant  as  himself;  and  any  one  as  clever  would  be  but 
another  Forain,  and  one  is  enough.  His  carelessness  is,  however,  as  easy  to  imitate 
as  his  excellence  is  difficult,  and  his  imitators  are  numberless,  especially  in  the 
United  States  where  his  simplicity  has  been  changed  into  stupidity  and  his 
character  made  characterless — he  is  easy  to  prig  from;  difficult  to  improve  on.  A 
delusion  to  the  artless  and  incompetents  who  live  on  him,  depend  on  him,  and  fail 
to  learn  anything  from  him;  it  is  not  his  business  to  teach. 


76  MAXIME  LALANNE 


PEN  DRAWING 

LALANNE  was  one  of  the  most  exquisite  and  refined  illustrators  of  archi- 
tecture who  ever  lived.  His  ability  to  express  a great  building,  a vast  town,  or 
a delicate  little  landscape,  has  never  been  surpassed,  possibly,  by  few  but  Whistler. 
To  a certain  extent  he  was  mannered;  so  was  Rembrandt;  Whistler  is  the  only  man 

| 


I know  of  who  was  not.  The  three  little  drawings  show  Lalanne’s  style  very  well; 
the  only  trouble  was  he  always  drew  like  that.  I do  not  know  what  was  the  size  of 
the  originals;  in  Havard’s  Hollande  the  illustrations  are  reproduced  in  many  differ- 
ent sizes,  but  the  small  ones,  like  these,  are  the  most  successful.  The  student  will 
find  the  book  extremely  useful. 

Lalanne  probably  acquired  his  refinement  of  handling  while  making  his  deli- 
cate etchings.  It  is  scarcely  necessary  to  analyze  his  drawings  here,  as  I have 
considered  one  of  them  in  an  earlier  chapter,  and  all  are  characterized  by  the  same 
simplicity  and  refinement  of  expression,  the  same  directness  of  handling.  There  is 

C " ■ . " ”s 


OF  PEN  DRAWING  IN  FRANCE 


77 


in  them  great  knowledge  of  architecture,  but  this  knowledge  is  not  aggressive.  The 
Portfolio  contained  many  examples  of  Lalanne’s  work,  among  others  sketches  in 
Rouen  and  illustrations  for  Hamerton’s  Paris.  His  etching  of  Richmond  and  the 
Thames,  which  appeared  in  the  Portfolio , is  the  most  exquisite  example  of  his 
work  I have  seen  in  any  English  periodical.  Nearly  the  same  results,  however, 

could  be  obtained  with  pen  and  ink. 

The  books  which  Lalanne  illustrated  are 
numerous.  He  did  a great  deal  for  Quantin. 
His  work  can  be  found  in  back  numbers  of 
LI  Art  and  nearly  all  the  French  magazines 
and  periodicals,  for  he  was  a most  prolific 
draughtsman.  But  perhaps  the  best,  certainly 


the  most  complete, 
series  are  in  Havard’s 
Hollande  a Vol  d'Oiseau 
and  La  Flandre  by  the 
same  author. 


H.  SCOTT 

IDO  not  know  if  Scott 
was  a Frenchman. 
But  he  lived  in  France, 
and  his  work  appeared 
in  French  periodicals.  I 
suppose  he  was  one  of 
the  many  Frenchmen  of 
English  or  other  foreign 
parentage,  among 
whom  one  at  once  re- 
calls men  with  English 
names,  like  Alfred 
Stevens  and  Albert 
Fynch. 

Scott  devoted  him- 
self to  the  picturesque 
rendering  of  architec- 
ture. He  is  not  a master 
by  any  means,  but  he 


78  PEN  DRAWING 

has  done  more  of  this  work  than  any  one  else  in  France.  Looking  at  his  drawing, 
I should  say  he  was  educated  as  an  architect.  In  the  headpiece,  at  Chantilly,  the 


drawing  of  the  flat  mansard  roof  is  absolutely  without  character.  I suppose  it 
is  slate. 

The  large  drawing  of  Pierrefonds  is  far  better.  The  scraggy  grapevine  in  the 
foreground  is  atrocious  and  meaningless.  But  the  light  is  excellently  carried  up  the 
long  street  leading  to  the  chateau ; the  chateau  is  very  well  drawn,  though  there  is 
but  little  light  and  shade  in  it,  and  some  careless  cross-hatching  on  the  towers.  The 
masses  of  trees  are  very  wire-worky.  Taken  altogether,  however,  as  an  impressive 
representation  of  a vast  building  dominating  a small  town,  the  effect  is  extremely 
well  given  with  expressive,  vital,  meaning  lines. 


OF  PEN  DRAWING  IN  FRANCE  MARS  79 

MARS  is  evidently — I may  use  the  term  correctly  in  this  case — a nom  deplume . 

His  real  name  is  Bonvoisin;  and  he  is,  according  to  Louis  Morin’s  French 
Illustrators , very  much  of  a man.  I care  little  for  the  draughtsman’s  personality,  or 
sex  either,  for  that  matter.  But  I am  sure  that  as  a caricaturist,  rendering  his 
drawings  with  a feeling  far  beyond  any  artless  or  slovenly  caricaturing,  as  an 
illustrator  of  fashion  magazines,  as  a delineator  of  French  hig  lij , or  as  one  who 
produces  charming  children’s  books,  Mars  is  good.  He  is  a delightful  contrast  to 
the  overrated  amateur  Gyp.  But  there  is  frequently  so  much  carelessness  and  so 
much  caricature  in  his  drawings,  which  are  intended  to  be  serious,  that  it  is  really 
difficult  to  find  a good  example  of  his  work,  though  it  appears  every  week  in  the 
French  papers. 

However,  a drawing  like  this  of  Pierrot  blanc  et  Pierrette  noire  shows  one  side 
of  his  work — -the  only  side  I find  worth  considering  seriously — as  well  as  it  could 
be  shown.  There  is  nothing  remarkable  about  the  drawing;  it  is  most  probably  all 
chic ; but  it  is  filled  with  graceful  lines,  and  is  specially  characteristic  as  an  example 
of  his  delightful  use  of  pure  blacks  and  whites.  It  may  look  as  if  it  were  very  simple 
to  silhouette  a figure  in  either  pure  black  or  white,  but  is  really  very  difficult  to  do 
it  and  still  give  an  effect  of  roundness.  It  is  this  which  Mars  can  do  so  well.  Several 
of  the  Germans — Schlittgen  and  Marold — and  Birch  in  America  also  draw  in  this 
way,  but  no  one  does  it  with  the  grace  and  charm  of  Mars.  On  one  side  it  is  only  a 
step  from  his  drawing  to  the  German  silhouette  work,  and  on  the  other  to  the  pure 
outline  work  of  Caran  D’Ache.  These  drawings  are  nearly  always  printed  with  a 
wash  of  color. 


DRAWINGS  OF  SCULPTURE 


IN  looking  over  the  catalogues  of  different  art  exhibitions,  which  are  perhaps 
the  only  places  where  are  to  be  found  pen  drawings  of  sculpture  with  any 
pretence  to  artistic  rendering,  one  is  struck  by  one  of  two  facts.  Either  the  sculp- 
tors have  not  made  the  drawings  themselves,  or  else  they  have  produced  slight  and 
trivial  renderings  of  their  own  often  very  beautiful  work.  The  chief  cause  for  this 
is  that  many  sculptors  out  of  France,  singular  as  it  may  seem,  cannot  draw;  that 
is,  they  cannot  make  a drawing  of  any  artistic  value.  In  Paris  this  is  not  so  often 
the  case.  A man  who  has  gone  through  the  Beaux-Arts  is  able  to  draw.  Rodin’s 
drawings  are  as  notorious  as  his  sculpture;  among  them  I have  found  a good  one. 
But  in  other  countries  it  is  the  exception  when  the  sculptor  can.  And  again,  it  is 
extremely  difficult  to  give  with  a pen,  either  in  simple  lines  or  complicated  masses, 
the  feeling  of  marble,  terra  cotta,  or  bronze. 


Yet  the  majority  of  French  sculptors,  when  they  wish  an  artistic  rendering  in 
pen  and  ink  of  their  work,  not  infrequently  employ  one  of  the  three  draughtsmen 
whose  work  I have  here  given  to  do  it  for  them.  Let  us  take  the  large  drawing  by 
St.  Elme  Gautier,  after  the  high  relief  of  Mercie,  over  one  of  the  doorways  of  the 
Louvre.  Mercie  is  a painter  as  well  as  sculptor,  his  painting  often  being  seen  in  the 
Salon>  and  he  realizes  the  difficulty  of  giving  with  pen  and  ink  the  effect  of  a newly- 
modelled  relief  which  has  none  of  the  marks  of  time,  or  the  interesting  smudges 
and  breaks  and  fractures  which  save  the  copyist  much  work  and  lend  charm  to 
the  results.  But  from  new  work  you  have  to  draw  sharply  and  cleanly,  depending 


82  PEN  DRAWING 

upon  nothing  but  your  ability  to  draw  correctly,  taking  the  utmost  care  with  every  line,  and  yet 
avoiding  that  liny  mechanical  look  which  you  will  find  at  once  in  your  drawing  unless  you  are  very 


skillful.  I cannot  call  this  drawing  of  Gautier  s very  artistic,  but  it  is  a clean,  sharp  rendering  of 
the  subject,  and  as  such  is  a good  study.  Contrast  it  for  a moment  with  these  heads  of  angels  by 
Marie  Weber.  She  has  got  all  the  modelling  and  the  effect  of  the  surfaces  and  the  rendering  of  light 
and  shade  without  a single  outline,  though  Gautier’s  work  is  almost  altogether  outline.  But  a 


OF  PEN  DRAWING  IN  FRANCE  83 

drawing  like  this  could  not  be  made  unless  the  draughtsman  was  quite  Gautier’s  equal.  Notice 
how,  though  she  indicates  the  lights  and  the  darks  in  the  mouths,  she  has  concentrated  her  blacks 
on  the  base  on  which  the  heads  stand.  And  yet  you  will  find  little  blacks  all  over  the  drawing, 


which  is  one  of  the  most  delightful  renderings  of  sculpture  I have  ever  seen.  Other  of  Marie  Weber’s 
drawings  are  to  be  found  in  L' Art,  but  none  that  are  as  fine  as  this  one. 

Half-way  between  Gautier’s  and  Marie  Weber’s  work  comes  this  drawing  of  Teucer  by  L. 
Gaucherel,  which  is  an  excellent  combination  of  their  two  methods — of  Gautier’s  firm,  bold  outline  in 
the  light  part  of  the  figure,  and  of  Weber’s  delicate  modelling  in  the  shadows.  The  effect  has  been 
obtained  without  a single  pure  black,  just  as  there  was  no  black  in  the  figure. 


84 


PEN  DRAWING 

Lastly,  the  head  of  De  Lesseps  by  Ringel  is  an  example  of  the  work  of  a man 
who  can  model  as  well  as  he  can  draw,  and  draw  as  well  as  he  can  etch.  Not  only 
have  his  series  of  medallions  of  contemporary  Frenchmen  been  most  original  in 
their  conception  and  true  in  their  character,  but  the  drawings  are  in  no  way  in- 
ferior, and  made  a profound  sensation  a few  years  ago  upon  their  publication  in 
L'  Art.  They  are  drawn  on  Papier  Gillot,  and  the  cross,  the  double  tone  which 
increases  the  light,  can  be  seen  all  over  the  side  of  the  face,  while  the  pure  whites 
are  obtained  by  scratching  the  tone  all  off  the  paper.  This  is  not  really  a pen 
drawing.  There  may  not  be  a single  pen  line  in  it,  though  I think  there  is  pen  work 
in  the  hair.  The  darks  are  put  in  with  crayon.  But  as  I wish  to  give  an  example  of 
pen  work  on  this  tinted  paper,  even  though  it  consists  of  only  a few  lines,  and  as 
this  is  one  of  the  finest  examples  to  be  had,  I think  it  best  to  give  it,  since  I am  sure 
it  will  be  useful  to  students.  By  means  of  this  tinted  paper  one  can  get  nearer  to  the 
effect  of  a relief  or  an  entire  figure  than  in  any  other  way,  except  by  wood-engrav- 
ing or  by  photography  from  the  relief  or  statue. 

Among  Americans,  Blum,  Wyatt,  Eaton,  Kenyon  Cox,  and  lastly,  Brennan, 
by  a process  of  his  own,  which  I believe  did  not  turn  out  very  successfully,  made 
some  interesting  drawings  of  sculpture  which  may  be  seen,  about  1885,  in  The 
Century.  But  by  process  or  wood-blocks  from  photographs,  of  the  statue  or  relief, 
a more  telling  result  may  be  had,  because  sculpture  depends  not  on  lines  but  on 
surfaces,  and  by  translation  into  lines  it  loses  enormously. 

AUGUSTE  RODIN 

There  is  evolution  in  every  man’s  work,  that  is,  in  the  work  of  every  man 
who  progresses;  sometimes  forward,  sometimes  backward.  Rodin  in  his  later 
years  completely  changed,  some  would  say  formed,  his  style.  His  later  drawings 
are  amusing  but  worthless  as  models  for  students.  Therefore  they  prig  from 
them.  But  they  do  not  prig  from  his  early  drawings;  they  are  like  old  masters. 
The  artists  of  the  Parthenon  were  Rodin’s  ideals.  In  the  end  he  thought  he  was 
an  old  master.  Often,  when  he  came  to  England  to  the  functions  of  the  Inter- 
national Society,  he  would  start  for  the  British  Museum  and  spend  his  time  before 
the  Elgin  marbles.  I do  not  know  if  he  ever  drew  from  them;  and  I think  it  was 
afterwards — though  of  this  I am  not  sure — that  he  began  to  make  his  later  pen  and 
wash  drawings.  At  any  rate  it  was  later  that  he  showed  them.  They  were  interest- 
ing, as  were  his  etchings,  some  of  which  are  remarkable  portraits,  but  latterly, 
though  beautiful  in  color,  the  drawings  at  times,  like  some  of  his  sculpture,  became 
impossible  to  show.  What  adventures  we  had  with  them  at  the  International, 
where  we  showed  everything  we  could  and  honored  him  by  making  him  our 
President,  a contrast  to  the  Academy,  which  never  elected  him  nor  during  his  life- 
time exhibited  any  of  his  work.  Even  his  most  fervid  designs  always  had  a charm. 

The  later  designs,  I believe,  are  founded  on  the  Egyptian  and  Greek  wall 
paintings  and  have  in  them  the  same  charm  of  color  as  the  oldest  artists  of  the 
world  got  in  their  work — but  the  Greeks  were  creators,  and  Rodin  is  a follower. 


86  CARAN  D’ACHE  PEN  DRAWING 

CARAN  D’ACHE,  whose  name  was  Emmanuel  Poirie,  was  the  most  appre- 
ciated French  caricaturist;  he  was  a Russian.  His  work  contains  all  the 
essentials  of  caricature.  His  drawings  amused  the  whole  world.  No  one  but  a blind 
man  would  refuse  to  laugh  at  them.  They  are  composed  with  the  fewest  possible 
lines  and  these  are  arranged  by  a masterly  technician.  The  drawings  are  commonly 
printed  with  a flat  color  wash,  or  else  in  silhouette,  but  he  does  not  depend  on  this 
wash  to  hide  imperfections  of  drawing.  And  in  addition  to  its  other  qualities  nearly 
all  his  work  possesses  that  local  color,  that  quality  of  ridiculing  notorieties  to 
which  other  caricaturists  make  everything  else  subordinate,  with  the  result 
that,  unless  you  happen  to  know  the  person  or  the  subject  caricatured,  you  can 
scarce  ever  appreciate  the  humor.  Caran  D’Ache  first  came  into  public  notice 
through  the  shadow  pictures  of  the  Chat  Noir.  These  were  silhouettes,  and  it  is 
strange  that  silhouette  work  so  well  adapted  to  pen  drawings  has  been  used  so 
little.  Since  then  he  has  made  either  silhouettes  or  caricatures  in  black  or  white  or 
color  in  the  pages  of  Figaro , L' Illustration , and  La  Revue  Illustree , and  devoted 
himself  to  illustrating  books,  among  which  are  the  Comedie  du  Jour , Comedie  de 
Notre  Temps , and  Les  Courses  dans  L' Antiquite . The  idea  of  this  latter  book  is  per- 
fectly absurd,  and  the  combination  of  the  Parisians  of  today  going  to  Les  Courses 
and  the  Elgin  marbles  running  a race  is  simply  side-splitting,  especially  when  it  is 
worked  out  technically  so  well.  There  is  no  doubt  that  we  outsiders  miss  half  the 
point,  but  nobody  can  fail  to  roar  while  admiring  the  cleverness  of  Station  de 
Centaures  de  la  Compagnie  Generale;  the  Heureux  Pere,  Heureuse  Mere;  II  y a du 
tirage;  Mile.  Phryne;  Dejeuner  du  Favori;  L’Arrivee,  which  is  a masterpiece;  La 
Mere  des  Gracches,  with  all  the  little  Gracchi  in  Cab  No.  1482;  the  arrangement 
of  the  De  Lesseps  family  of  which  he  never  tires;  and  Le  Mail  du  Prince  Apollo, 
where  Apollo  drives  a four-in-hand,  while  President  Carnot,  as  Jupiter  with  the 
thunderbolts  under  his  arm,  is  trying  to  control  the  Char  de  L’Etat.  The  book 
is  filled  with  this  absurd  combination  of  Greek  art  and  modern  French  life,  but  it 
must  be  seen  to  be  appreciated.  It  is  published  by  Plon,  Nourrit  and  Company. 
Among  his  last  works  were  Carnet  de  Cheques , and  The  Discovery  of  Russia,  while 
his  notes  on  the  Boer  war  in  the  Paris  papers  were  amazing. 

I must  refer  to  the  Figaro  Illustre  for  Christmas,  1888.  This  holiday  number 
contained  what  I think  is  Caran  D’Ache’s  greatest  work,  Comment  on  fait  un  chef- 
D’  oeuvre. 

This  series  is  one  of  his  most  celebrated  productions,  the  Nephew  and  His 
Uncle.  The  recovery  of  the  uncle  and  the  collapse  of  the  nephew  are  inimitable,  and 
like  all  good  caricatures  requires  no  legend  or  explanation.  Caran  D’Ache  luckily 
died  before  his  country  disappeared  in  darkness. 


88  A.  LALAUZE  PEN  DRAWING 

LALAUZE  shows  that  the  clumsy  lines  without  feeling  or  character,  used  so 
much  by  many  English  and  American  illustrators,  can  be  avoided,  and  grace- 
ful sympathetic  lines  substituted  for  them.  This  want  of  grace  of  line  tells  greatly 
in  pen  drawing.  The  excuse  for  the  liny  line  work  of  many  illustrators  is  that  it 
reproduces  better,  but  I am  sure  Lalauze’s  and  Louis  Leloir’s  drawings  prove  the 


contrary.  Even  Maurice  Leloir’s  Sterne  drawings  are  to  me  unpleasantly  liny;  the 
lines  are  aggressive  all  through  them.  In  this  connection  I must  insist  that  only  too 
often  English  and  American  photo-engravers  are  but  mechanical  middlemen,  who 
in  many  cases  do  not  pretend  to  do  their  own  work,  while,  in  others,  they  are  so 
utterly  ignorant  of  art  they  make  no  pretence  to  artistic  reproduction.  When  the 
reproduction  becomes  in  the  least  difficult,  they  assure  you  that  it  is  quite  impos- 
sible. They  have  no  desire  to  produce  artistic  work  they  do  not  understand, 
especially  if  difficult.  But  I hope  this  book  may  serve  to  show  most  conclusively 
what  may  be  done  with  process.  Lalauze’s  etchings,  especially  his  refined  little 
illustrations  in  many  books,  are  well  known. 


OF  PEN  DRAWING  IN  FRANCE  ULYSSE  BUTIN  89 

IT  may  be  wondered  why  I give  so  much  space  to  a drawing  which  is  apparently 
crude  and  very  like  the  projects  and  intentions  of  the  old  men.  To  show  the 
difference.  The  old  work  mostly  is  in  pure  outline,  or  if  modelling  is  attempted,  it 
is  done  in  the  most  conventional  manner.  Here  you  have  no  outline,  but,  on  the 
contrary,  a masterly  sketch  in  which  the  suggestion  of  modelling  and  the  feeling 


for  light  and  shade  are  remarkable  in  their  strength  and  character.  Notice  how  the 
figure  of  the  girl  is  suggested  under  her  dress,  and  the  simple  yet  true  rendering  of 
her  hair,  and  the  difference  between  her  face  and  that  of  the  man  sleeping  beside 
her.  Of  course  this  is  rough  work  if  you  like,  and  the  reproduction  is  less  than  the 
size  of  the  original  drawing.  But  though  the  work  is  put  in  strongly  and  boldly,  it 
is  not  done  carelessly,  and  it  is  most  interesting  to  see  the  way  in  which  a man  like 
Butin  works.  Note  that  none  of  the  lines  are  done  with  unnecessary  coarseness  in 
hopes  that  they  will  reduce  into  the  proper  relations  with  other  light  ones,  but  all 
are  drawn  apparently  with  a big  quill  pen.  As  I have  said,  I show  this  drawing 
more  to  mark  the  contrast  between  modern  sketching  of  projects  and  intentions 
and  old  work  of  the  same  sort.  It  was  published  in  V Art. 


CARLOZ  SCHWABE 

OF  all  the  modern  men,  Carloz  Schwabe  has  “pushed”  symbolism  the  farthest 
and  most  seriously.  Schwabe  was  a contemporary  of  Beardsley  but  never  his 
rival  or  imitator.  He  has  probably  had  as  much,  or  more,  to  do  with  the  present 
craze,  or  fad  lor  mysticism,  as  suggested  by  religious  or  profane  motives,  as  any 
one;  and  he  has  expressed  his  ideas  with  such  seriousness  of  design  and  com- 
position, such  perfection  of  technique,  that  he  has  won  for  himself  a place  as  a 
leading  draughtsman,  designer,  and  illustrator,  not  so  much  because  of  his  subjects 
as  because  of  the  brilliantly  successful  way  in  which  he  has  carried  out  his  ideas 
and  schemes.  He  is  a man  who  realizes  that  he  can  take  advantage  of  the  modern 
developments  of  printing  and  process,  and  yet,  at  the  same  time,  fill  his  work  with 
all  the  decorative  feeling  of  the  Middle  Ages.  He  is  on  the  same  intelligent  level  in 
this  matter  as  F.  Sandys,  Max  Klinger,  Howard  Pyle,  and  Beardsley. 

The  drawings  that  I have  chosen  are  taken  from  Id Evangile  de  Id  Enfance, 
published  in  the  Revue  Illustree  for  1890,  and  Le  Reve  by  Zola,  and  though,  like 
almost  all  his  work,  intended  to  be  printed  with  flat  washes  of  color  upon  them,  they 
are  so  well  drawn  that  the  mere  key  block  is  as  interesting  as  the  final  tinted  print. 

Schwabe,  with  the  other  men  whom  I have  named,  realizes  that  mysticism 
and  symbolism  are  not  an  excuse  for,  or  means  of,  hiding  bad  drawing,  careless 
design,  imperfect  or  untrained  pen  work;  and  that  a man  must  know  the  drawings 
of  the  fifteenth  century  as  well  as  the  woodcuts  from  them;  and  that,  finally,  he 
must  be  an  intelligent  illustrator  and  not  an  affected  poseur , and  be  up  in  all  the 
modern  requirements  and  possibilities  of  reproduction  and  printing.  He  may  in- 
troduce a modern  element  into  the  most  archaic  subject  without  its  seeming  out  of 
place,  just  as  the  old  men  did,  provided  he  does  it  seriously  and  knowingly,  and  not 
with  the  object  of  impressing  the  unintelligent. 


Verdoux/Ducourliou*  ft  fimUard ft. 


OF  PEN  DRAWING  IN  FRANCE  95 

In  these  drawings  Schwabe  has  made  the  shepherds  into  real  characters.  He 
has  worked  out  the  details  of  their  costumes  in  a decorative  yet  realistic  fashion. 
Decoration  is  not  confused  with  modelling,  and  shadows  are  not  mixed  up  hope- 
lessly with  patterns.  Not  only  are  the  draperies  of  his  angels  and  saints  big,  simple, 
and  massive,  falling  in  noble  lines,  but  there  are  figures  underneath — and  not  a 
lay  figure  or  clothes  horse.  Beauty  and  refinement  are  in  the  faces,  which  are  so 
charmingly  and  simply  rendered;  while  the  study  of  the  ruinous  old  shed  in 
La  Nativite  and  the  village  street  have  been  doubtless  done  from  nature.  Nor 
has  he  been  satisfied  with  the  conventional  hands  bestowing  their  blessing,  or  cut- 
out stars  singing  together;  while  all  around  one  may  see  in  its  proper  place  some 
symbol  or  suggestion  like  the  crude  cross  in  the  half-timbered  work,  or  the  chalice 
in  the  roof.  Then,  too,  how  noble  and  dignified  are  the  figures  in  L'Etoile  des  Ber- 
gers, how  simple  the  landscape,  how  well  the  grassy,  weedy  foreground  is 
suggested. 

Schwabe’s  most  important  work  is  Zola’s  Reve , published  by  Flammarion  in 
1892,  in  which  some  of  his  best  work  will  be  found.  The  cover  is  charming,  and 
contains  not  only  that  amazing  combination  of  decoration  in  the  passion-flowers, 
but  of  realism  in  the  rendering  of  Beauvais  Cathedral,  as  well  as  the  germ  of  much 
English  work,  which  has  been  praised  for  its  originality.  He  has  made,  too,  some 
most  interesting  experiments  in  reproducing  wash  and  chalk  work.  Most  of  the 
prints  are  in  color,  and  the  head  and  tail  pieces  are  full  of  invention  as  well  as 
brilliantly  carried  out.  Schwabe  allied  himself  for  some  years  with  the  members  of 
the  forgotten  Rose  Croix,  and  for  a year  or  so  was  the  real  backbone  of  the 
brilliant  band  which  included  Aman-Jean,  Atalaya,  Bethune,  Grasset,  Khnopff, 
Martin,  Point,  Leon,  Toorop,  and  Vallotin.  The  forerunners  of  cubism,  only  many 
of  these  men  were  artists,  not  merely  advertisers.  He  has  shown  many  of  his 
drawings,  notably  the  designs  for  Le  Reve , at  the  Champs  de  Mars.  Some  of 
these  have  been  purchased  by  the  State  for  the  Luxembourg. 

JULES  JACQUEMART 

ONE  of  the  most  curious  facts  in  the  history  of  process  reproduction  is  that 
some  of  the  earliest  blocks  were  almost  as  good  as  any  made  today.  These 
engravings  by  Gillot  were  done  before  1879;  and  though  more  difficult  subjects 
can  be  reproduced,  I doubt  if  better  blocks  could  be  produced  by  Gillot  today. 
There  are  two  reasons  for  this:  The  perfect  adaptability  of  these  designs  to  process, 
and  the  pleasure  the  engraver  must  have  taken  in  bringing  out  the  first  important 
book  illustrated  by  process. 

Jacquemart  is  best  known  by  his  etchings,  mainly  of  bric-a-brac , but  the 
drawings  in  L'Histoire  de  Mobilier  from  which  all  these  engravings  are  taken  are 
equally  good.  There  is  the  same  serious  and  successful  rendering  of  materials,  the 
same  study  of  the  play  of  light  on  polished  surfaces,  the  same  delight  in  the  accu- 
rate drawing  of  complicated  forms,  and  an  even  more  careful  putting  down  of  the 


right  line  in  the  right  place,  if  this  is  possible.  Note  the  large  sideboard;  not  only 
can  one  feel  the  colored  marble  top,  the  metal  decoration,  but  also  the  cabinet- 
maker’s work.  And  there  is  not  a line  too  much  or  too  little  in  the  design;  every 
line,  too,  shows  the  construction,  and  yet  all  is  in  perfect  light  and  shade.  The  same 
is  true  of  the  richly-upholstered  chair;  the  detail  is  as  accurate  as  in  a photograph, 
or,  indeed,  much  more  so  and  as  free  as  possible.  Then  note  the  complete  change 
in  the  handling  of  the  carved  cabinet,  the  metal  feeling  of  the  helmet  with  the  play 
of  light  on  the  raised  surfaces,  and  the  sparkle  and  glitter  on  the  vase. 


And  this  sort  of  work  did  not 
exhaust  Jacquemart’s  abilities;  his 
rendering  of  landscape  was  masterly 
in  pen  and  ink.  No  matter  what 
the  subject,  his  illustrations  were 
as  serious  as  his  paintings;  and  he 
was  a big  enough  artist  to  recognize 
that  with  a simple  medium  one  can 
produce  great  art;  that  illustration 
is  as  important  as  any  other  branch 
of  art,  and  that  a pen  drawing  is 
quite  as  interesting  if  well  done  as 
a painting  in  oil.  If  the  American 
ad  man  only  set  his  hacks  to  copy 
Jacquemart  or  Bacher,  we  might 
again  occupy  the  place  in  the  art 
world  we  have  lost.  But  why  should 
we? — what  do  we  care— or  know? 


A.  LANgON 

LANgON’S  drawing  of  cats  is  masterly;  so  is  Steinlen’s.  But  in  his  pen  drawings 
there  is  very  little  or  no  attempt  to  render  the  texture  of  the  fur;  it  is  the 
modelling,  the  pose,  the  expression  he  has  been  trying  for,  and  to  me  the  work, 
especially  the  side  view  of  a cat,  looks  almost  as  if  it  were  drawn  from  a bronze  by 
Barye.  This  may  have  been  the  case.  But  what  I wish  to  call  attention  to  is  that 
these  drawings  are  made  with  the  double-line  pen  which  I have  described  in  the 
Technical  chapter.  Look  and  you  will  see  all  through  them  the  two  lines  made  at 
one  stroke.  The  two  drawings  are  an  example  of  the  working  of  the  double-line  pen, 
and  as  such  are  given  rather  than  as  examples  of  handling. 


E.  GRASSET 

ILLUSTRATOR,  decorator,  architect,  de- 
signer, Grasset  has  done  notable  work  in 
all  these  fields.  But  above  all,  he  is  an  illus- 
trator. His  earliest  and  most  important  book 
is  Les  Quatre  fils  d'Aymon , produced  by 
Gillot  about  1881;  he  has  also  illustrated 
Victor  Hugo,  Flaubert,  and  Paul  Arene. 
These  two  drawings  are  intended  for  posters, 
in  the  designing  of  which  he  rivals  Cheret, 
Lautrec,  and  Auriol.  Examples  of  his  deco- 
ration will  be  found  in  the  chapter  on  that 
subject.  The  large  drawing,  “Duel  Judi- 
ciaire,”  is  not  only  one  of  the  most  horribly 
dramatic  designs  of  modern  times,  but  an 
excellent  example  of  good,  direct,  outline 
work,  accented  with  touches  of  black  in  the 
right  place;  the  tree  drawing  is  weak,  but 
all  else  is  good.  This  is  the  key  block  for  a 
color  print.  But  it  comes  very  well  without 
the  color. 


EDOUARD  MANET 

MANET,  like  Whistler,  learned  from  the  Japanese  in  the  right  way  technically. 

These  drawings,  done  with  a brush  and  ink,  are  amazing  artistically — the 
work  of  a master  craftsman  sure  he  was  right.  The  drawings  were  made  partly 
with  pen  and  partly  with  brush  in  lithographic  ink  and  wash.  The  Raven  is  from 
Poe’s  Poems,  and  I have  seen  prints  of  the  portrait  in  lithography.  These  are  per- 
fect models  for  drawing  and  printing — not  a line  wasted,  everything  telling. 


tv 


OF  PEN  DRAWING  IN  FRANCE  EUGENE  COURBOIN  105 

COURBOIN  is  a master  of  simple  direct  line.  This  drawing  is  but  the  skeleton, 
the  key  block  for  a color  print;  and  yet  it  is  quite  as  complete,  and,  I think, 
even  more  expressive  without  the  color  than  with  it.  The  three  characters  are  as 
finely  rendered  as  they  could  be,  though  it  is  usually  well  to  get  more  variety  and 
quality  into  the  pen  line.  In  this  case,  where  it  is  only  intended  as  a guide,  Cour- 
boin  has  kept  the  line  very  simple.  Michelet  has  excellently  reproduced  these  single 
lines,  which  are  most  difficult  to  etch  singly  and  print  with  the  original  delicacy. 


A.  WILLETTE 

ILLUSTRATOR,  editor,  poet,  politician — in  at  least  one  of  these  roles  Willette 
is  almost  always  in  evidence  in  Paris. 

Whether  he  resurrected  Pierrot  to  found  Le  Pierrot , his  paper,  or  whether 
Le  Pierrot  is  but  what  it  seems  to  be,  the  refuge  for  his  creations,  I do  not  know. 
Willette,  while  he  has  employed  almost  all  sorts  of  methods  and  illustrated  almost 
all  the  papers  of  Paris,  as  well  as  decorated  the  hoardings  of  the  capital  with  his 
designs,  he  could  make  a poster;  still  he  seems  best  when  he  is  inventing  new 
adventures  for  his  favorite  character,  and  showing  us  these  adventures  by  means 
of  pen  and  ink.  Simplicity  is  his  dominant  note.  Usually  there  is  only  the  black 
cap  of  Pierrot,  all  the  rest  is  white,  as  simple  as  possible.  The  Pierrette  is  equally 
graceful.  Through  all  his  work  you  see  this  bright  joyousness,  suggestion,  and  fun. 


7rs> 


BOUTET  DE  MONVEL 

THE  delineator  of  child-life; 

never  have  children  been 
better  observed,  more  intelli- 
gently studied;  nor  their  gestures, 
clumsy  and  graceful,  more  simply 
and  directly  noted.  He  was 
always  decorative,  and  there  is 
not  a line  in  his  drawings  with- 
out meaning.  He  has  contributed 
much  to  St.  Nicholas , and  his 
best-known  books  are  Chansons 
et  rondes  pour  les  petits  enfant s , 
Chansons  de  France  pour  les  petits 
frangais , and  Nos  enfants.  Yet 
we  preler  Buster  Brown! 


f 


GODEFROY 

This  artist  is  quite  as  amusing  if  not  so  realistic  as  Caran  D’Ache.  His  style  is 
different  and  quite  as  original;  therefore  he  deserves  a place.  Every  stroke  has  a meaning. 


108  JULES  BRISSON 


PEN  DRAWING 


WHAT  a delightful  contrast  this  is  to  the  stupid  caricatures  the  geniuses 
of  the  East  Side  of  New  York  make  and  have  printed  in  our  papers,  that 
delight  the  uptown  New  York  public.  It  is  far  better,  too,  than  a hack’s  work,  but 
it  costs  more  than  a copy  from  a photograph,  so  the  American  editor  takes  that. 
There  is  some  wild  scribbling — but  there  is  much  character  and  color. 


OF  PEN  DRAWING  IN  FRANCE  J.  F.  RAFFAELLI 


109 


RAFFAELLI’S  drawing  is  an  excellent  example  of  the  simple,  direct,  straight- 
forward rendering  of  a head.  The  greater  part  of  it,  I should  say,  was  done 
with  a quill.  The  bony  formation  of  the  head  is  remarkably  well  rendered,  and  yet, 
as  it  should  be,  in  the  simplest  manner  possible.  Notice  how  Raffaelli  has  drawn 
the  tassel  by  a flat  mass,  and  still  made  it  look  round,  and  kept  its  proper  relation 
and  form.  Notice,  too,  how  the  stubby  beard  and  the  lines  of  the  face  are  drawn  to 
show  the  growth  of  the  beard  and  the  direction  of  this  growth,  and  to  express  the 
construction  of  the  face;  and  only  one  set  of  lines  is  used. 

The  other  drawing  is  from  his  book  on  Paris — Types  de  Paris — and  is  most 
interesting  for  the  admirable  reproduction  of  wash  in  a line  block.  Most  of  the 
drawing  is  in  line,  but  the  trees  and  the  nurses’  gowns  are  partly  in  wash  or  drawn 
with  a half  dry  brush.  And  the  greys  in  the  original  have  been  gotten  by  the 


110 


PEN  DRAWING 

process  engraver  with  a roulette.  The  dots  of  the  tool  can  be  seen  all  through 
them.  Both  the  drawing  and  the  engraving  are  interesting. 

The  drawings  in  this  book  are  in  many  media,  but  the  pen  drawings  are 
the  best  of  all. 


J.  B.  COROT 

THOUGH  Corot  died  before  process  was  perfected,  so  great  is  this  perfection 
today,  that  his  drawing  comes  perfectly  by  it,  even  if  the  artist  had  no 
thought  of  reproduction  in  his  mind,  no  knowledge  of  its  requirements. 


112  LOUIS  MORIN  PEN  DRAWING 

PROPERLY  speaking  the  design  at  the  bottom  of  this  page  is  not  a drawing 
at  all,  but  one  of  the  shadow  pictures  shown  at  the  Chat Noir.  No  doubt  the 
original  was  made  with  pen  or  brush  and  ink;  but  these  shadow  pictures  were,  I 
believe,  cut  out  of  tin.  But  this  making  of  the  picture  by  cutting  out  the  whites, 

that  is,  leaving  the  whites 
to  produce  it  a silhouette 
in  white  and  not  in  black, 
is  most  interesting,  and 
might  be  usefully  em- 
ployed by  many  draughts- 
men in  many  ways. 

Louis  Morin  is  an 
author  as  well  as  artist, 
and  has  illustrated  many 
books  of  his  own.  Among  them  are  Jeannik , Le  Cabaret  du  Puits  sans  Viny  Les 
Amours  de  Billes , Vieille  Idylle , and  in  these  books  and  Les  Bohemiens  of  Felicien 
Champsaur  he  is  as  graceful  as  Watteau  and  as  delicate  as  Vierge,  and  yet  he  is 
himself.  He  also  wrote  French  Illustrators  for  Charles  Scribner’s  Sons. 


OF  FEN  DRAWING  IN  FRANCE  HENRI  RIVIERE  113 

RIVIERE’S  silhouettes  for  the  Chat  Noir  are  amazing,  the  reproduction  even 
seems  the  size  of  life,  and  all  the  figures  are  in  motion.  I have  never  seen  such 
a feeling  of  movement  given  in  any  form  of  art.  There  are  others  of  armies  on  the 


march  by  himself,  Pille,  Morin,  and  Caran  D’Ache,  which  fairly  frighten  one  with 
their  sense  of  irresistible  onward  rush;  you  feel,  as  in  this  one,  that  you  are  in  the 
presence  of  a vast  multitude,  you  really  hear  the  sound  of  their  footfalls.  Nothing 
more  impressive  has  been  done  in  art. 

FELIX  VALLOTIN 

THIS  is  not  a pen  drawing 
but  a woodcut.  Vallotin 
is  endeavoring  to  resurrect 
the  art  of  wood-cutting,  and 
this  is  an  example  of  his 
method  or  work  drawn  and 
cut  by  himself.  He  also  works 
out  his  designs  in  lithography, 
and  nothing  could  possibly 
be  easier  to  reproduce  by 
process.  In  every  case  I 
imagine  a pen  drawing  is  first 
made  on  paper,  the  block  or  stone;  this  is  then  cut,  etched,  processed  or 
lithographed. 

In  his  arrangements  of  black  and  white  he  is  most  masterly;  in  his  suggestion 
of  retreating  or  advancing  masses,  too,  he  is  very  fine.  Note  the  three  mourners  in 
the  center;  you  feel  the  character  and  shape  of  each,  and  yet  they  are  rendered  by 
a single  black  mass.  The  way  the  whites,  too,  cut  into  the  blacks  is  skilfully  man- 
aged. Vallotin’s  work  was  published  by  Joly  on  the  Quai  St.  Michel,  Paris,  and 
each  design  is  usually  sold  separately. 


114  P.  PUVIS  DE  CHAVANNES 


PEN  DRAWING 


A good  example  of  this  master’s  simple  primitive  style. 


OF  PEN  DRAWING  IN  FRANCE  H.  TOULOUSE  LAUTREC 


115 


LAUTREC,  after  his  connection  with  the  Courrier  Frangais , one  of  the  most 
brilliant  and  most  international  of  weeklies,  did  little  pen  work.  But  here  is  a 
remarkable  example  of  pen  and  chalk  work  remarkably  well  reproduced  and  well 
worth  study.  But  do  not  follow  the  scrawls. 


OF  PEN  DRAWING  IN  FRANCE  J.  BASTIEN  LEPAGE  117 

A DRAWING  on  papier  Gillot , grained,  scratch  paper,  showing  much  skilful 
work  on  the  part  of  the  artist  with  knife,  crayon,  pen  and  wash;  much 
intelligent  work  by  the  photo-engraver  in  reproducing  the  quality  and  feeling  of 
the  drawing;  it  requires  very  careful  printing. 


Lepage’s  portrait  of  the  Prince  of  Wales  (Edward  VII)  is  one  of  the  studies 
made  by  this  artist,  and  refused  by  this  prince,  as  a commission  in  London.  It 
is  more  remarkable  as  a drawing,  however,  than  as  an  example  of  princely 
stupidity.  The  treatment  is  quite  like  an  etching;  every  line  means  something, 
and  it  is  well  worth  study,  and  the  work  is  rightly  concentrated  on  the  head. 


<v 


LOUIS  LELOIR 

THIS  Leloir  must  not  he  confounded  with  Maurice  Leloir,  the  illustrator  of 
Sterne.  The  drawing  is  a most  refined  rendering  of  character.  The  face  has 
been  put  in  so  well  for  reproduction  that  the  printed  result  is  more  successful 
than  any  work  I know  of.  And  yet  it  is  one  of  the  very  few  drawings  by  Louis 
Leloir  that  I have  seen.  Of  course  it  is  nothing  more,  perhaps,  than  a sketch  for  a 
picture,  but  when  a man  can  make  such  a sketch  he  is  a great  master  of  pen  draw- 
ing. The  face  and  hands  cannot  be  too  thoroughly  and  carefully  studied.  There  is 
meaningless  scribbling  in  the  cassock  instead  of  modelling.  But  the  whole  is  very 
good.  The  drawing,  too,  must  have  been  much  reduced. 


M.  RENOIR 

A CURIOUS  example  of  what  an  artistic  result  can,  in  the  hands  of  a clever 
man,  be  made  with  an  absolutely  uninteresting  and  clumsy  line.  It  is,  how- 
ever, a difficult  game  to  play,  and  is  usually  a failure. 


4 


PAUL  RENOUARD 

AN  illustrator  who  treats  as  many  subjects  as  Renouard  is  forced  to  must 
express  himself  in  different  fashions.  His  use  of  pure  line  and  complicated 
chalk  and  grained-paper  effects  are  absolutely  different.  These  designs  are  pure 
pen  work.  In  his  early  days  Renouard  made  many  drawings  of  actors  in  a sur- 
prising fashion,  and  he  also  was  surprisingly  influenced  by  Charles  Keene.  This 
block  proves  both  facts.  Later  he  gave  up  the  pen,  of  which  he  became  a master, 
for  the  brush.  There  is  a series  in  L' Art  of  studies  of  copyists  in  the  Louvre  full 
of  character.  The  old  man  painting  is  one  of  them. 


HENNER 

A REMARKABLE  example  of  brush  and  pen  work  in  tones— producing  a 
most  effective  result.  The  drawing,  made  with  a brush  in  flat  tone,  is 
most  characteristic  of  the  artist’s  work.  It  is  remarkably  well  arranged  in  mass, 
and  if  one  can  draw  as  well  as  Henner,  a very  effective  method  of  working,  as 
it  reproduces  easily  and  prints  well,  though  there  is  considerable  hand  work 
on  the  block,  engraving  with  a roulette,  to  lighten  some  of  the  tones. 


E.  MARTY 

THIS  effect,  a very  successful  experiment,  has  been  obtained  by  making  a 
uniform  tint  all  over  the  grained  paper  with  chalk  and  pen,  and  then  scratch- 
ing out  the  drawing  with  knives  and  scrapers. 


IIMslMI 

w0Mmm 

mm 


H.  GERBAULT 

AN  interesting  ex- 
ample of  silhouet- 
ting, both  in  black  and 
white,  against  the  grey- 
tint  background.  The 
figures  are  exceedingly 
well  drawn,  and  the  faces 
are  charmingly  indicated 
in  the  simplest  manner. 
A very  notable  drawing 
— theatrical,  but  full  of 
suggestions  to  the  student. 


F.  STEINLEN 

THIS  artist  has  devoted  himself  almost  altogether  to  Montmartre  and  Belle- 
ville in  Paris.  He  has  shown  how  much  pathos  and  dramatic  feeling  there  is  to 
be  obtained  from  the  not  very  pleasant  people  of  those  quarters,  yet  he  has  done 
it  most  artistically,  and  mainly  in  pen  and  ink.  Some  of  his  drawings  in  pen  and 
chalk,  printed  in  Gil  Bias  Illustre  in  two  colors,  are  historic  compositions,  a proof 
that  a tragedy  can  be  rendered  just  as  well  by  the  simplest  medium  as  the  most 
complicated,  while  in  pen  and  ink  his  masterpiece  is  Dans  La  Rue , the  Songs  of 
Bruant.  Steinlen  did  much  work  during  the  war,  mainly  in  lithography. 

Louis  le  Grand  is  almost  the  only  French  artist  of  distinction  who  has  carried 
on  art  today,  and  in  his  case  his  last  work  is  in  etching;  but  in  old  numbers  of  the 
Courrier  Frangais  and  Gil  Bias  Illustre  remarkable  proof  of  his  skill  as  a pen  and 
line  draughtsman  may  be  found,  if  copies  of  the  papers  can  still  be  found,  another 
horror  of  war.  They  should  be  collected,  preserved.  They  are  masterpieces. 


MLLE.  HERWEGEN 

A very  interesting  and  direct  treatment  of  architecture  well  worth  study. 


OF  GERMAN  WORK  CHAPTER  IV 

IN  Germany  the  greatest  pen  draughtsman  was  Adolf  Menzel,  who,  in  age  as 
well  as  art,  takes  precedence  of  almost  all  modern  men.  Like  Meissonier, 
Fortuny,  and  Rico,  he  cut  himself  loose  from  academic  methods  and 
traditions,  and  like  them  he  had  his  eyes  opened  to  see  in  what  a valley  of 
dry  bones  he  had  been  walking  by  going  straight  to  nature,  though,  at  the  same 
time,  he  may  be  said  to  be  a direct  descendant  of  Holbein  and  Chodowiecki.  Not 
only  German  pen  draughtsmen,  but  some  of  the  most  brilliant  Americans,  English- 
men, and  Frenchmen  owe  much  to  the  study  of  his  work. 

Menzel  was  born  in  1815.  His  most  famous  illustrations  are  in  the  Life  and 
Works  of  Frederick  the  Great , Germania , and  La  Cruche  Cassee.  The  drawings  for 
the  Life,  made  on  wood,  were  given  to  the  best  Parisian  engravers,  who  were,  in 
1839,  engaged  upon  those  amazing  illustrated  books,  which  are  the  triumphs  of 
French  drawing,  engraving,  and  printing.  Cumer’s  edition  of  Paul  et  Virginie  et 
La  Chaumiere  Indienne  had  just  appeared;  and  there  is  no  doubt  at  all,  that 
Menzel  sent,  or  at  any  rate  confided  a des  graveurs  parisiens  these  drawings  and 
that  he  was,  like  all  the  world,  tremendously  impressed  with  the  French  books,  in 
great  part  engraved  by  Englishmen  after  the  designs  of  Gigoux,  Jacque,  Johannot, 
Huet,  Isabey,  and,  greatest  of  all,  Meissonier.  But  Menzel  was  far  from  being 
satisfied  with  the  results,  for  the  reason  that  these  engravers  reproduced  every- 
thing in  a mannered  fashion,  giving  their  idea  and  not  the  artists’  of  the  originals. 
This  utter  subjection  of  the  artist  to  a mechanical  and  inartistic  engraver  is  what 
ruined  the  work  of  many  young  Englishmen  in  the  sixties.  The  preposterous 
notion  of  getting  the  engravers’  and  not  the  artists’  lines,  although  it  must  have 
been  disheartening  to  the  latter,  had  at  least  the  good  effect  of  developing  wood- 
engraving, and  photographic  reproduction,  all  over  the  world. 

Menzel  was  so  discouraged  at  the  results  obtained  by  the  French  engravers 
that  the  greater  number  of  his  drawings  were  done  over  by  Germans,  whom 
he  directed,  who  were  artists  enough  to  know  that  they  were  nothing  more 
than  machines  gifted  with  human  intelligence  and  artistic  sensibility,  that  they 
should  devote  the  whole  of  their  skill,  under  Menzel’s  direction,  to  the  absolute 
subjection  of  themselves,  that  they  might  perfectly  reproduce  his  work.  Even  the 
best  results  of  this  perfect  subjection,  as  exemplified  in  America  by  men  like  Cole, 
Whitney,  and  Juengling,  or  Breviere,  Leveille,  and  Lavoignat  in  France,  in 
facsimile  line  engraving,  are  no  better,  save  in  that  they  are  works  of  art,  than  those 
of  a photographic  process  when  assisted  by  an  engraver  of  less  ability,  but  a trained 
man.  Moreover,  the  saving  of  time  by  these  mechanical  processes  is  enormous. 
Among  the  engravers  who  worked  for  Menzel  on  the  Life  of  Frederick  the  Great 
were  Bentworth,  Unzelmann,  and  Vogel.  Menzel’s  efforts  to  have  his  own  work 
and  not  the  engraver’s  given,  produced  not  only  a resurrection  but  a revolution 
in  the  art  of  wood-engraving  in  Germany,  and  this  revolution  has  spread  wherever 
facsimile  wood-engraving  is  used.  It  was  not  invented,  however,  in  Germany,  but 
in  England,  coming  there  by  way  of  France.  The  use  of  wood-engraving  in  this 


128 


PEN  DRAWING 

manner,  though  marvelous  in  its  results  will  soon  become  a lost  art;  but,  unlike 
most  lost  arts,  one  we  can  very  well  dispense  with.  With  the  present  art  of  wood- 
engraving, that  is,  the  translation  of  tone  into  line  as  practiced  by  the  really  great 
wood-engravers  of  today  in  Germany,  France,  and  America,  I am  not  concerned. 
I wish  to  emphasize  the  too  little  known  or  too  much  ignored  fact  that  when  we 
have  a process  which  will  give  automatically  in  a few  hours  the  same  result  the 
workman  obtains  after  weeks  of  toilsome  and  thankless  drudgery,  there  is  no 
reason  why  we  should  not  use  it  if  one  method  is  as  good  as  the  other.  I am  quite 
right  in  saying  with  every  artist,  excepting  probably  the  reproductive  and  usually 
the  more  or  less  mechanical  and  commercial  etcher,  that  I look  forward  to  the  day 
when  woodcuts  and  all  other  engravings  will  again  hold  the  place  they  held  in  the 
time  of  Diirer,  or  Lepere  in  our  own  day,  though  I do  not  mean  that  we  should 
blindly  follow  the  mechanical  limitations  and  imperfections,  which  Menzel  so 
heartily  deplored,  when  all  drawings  that  are  not  suited  to  them  will  be  reproduced 
by  some  mechanical  process.  In  fact  this  has  come  to  pass— but  the  incompetents 
and  the  incapables  flood  the  earth  with  their  abortions  and  the  critics  and  the 
cultured  stand  amazed  at  the  results — and  so  do  artists.  No  one  felt  this  more 
than  Menzel,  for  his  first  attempt  to  do  without  the  wood-engraver  is  shown  in  his 
drawing  on  stone  for  the  lithographer,  either  to  be  directly  printed,  or,  later,  by 
photolithography.  Many  French  critics  have  said  that  the  German  wood-en- 
gravers reproduced  his  work  perfectly.  But  any  one  who  has  had  drawings  repro- 
duced by  wood-engraving  knows  that  it  is  absolutely  impossible  for  the  best  wood- 
engraver  to  preserve  all  the  feeling  of  the  original  drawing,  while  the  drawing 
is  all  cut  to  pieces,  if  made  on  the  block. 

In  his  Frederick  the  Great,  Menzel,  as  is  the  case  with  all  sincere  artists, 
developed  his  genius.  He  began  a student,  he  ended  a master.  No  illustrator  ever 
had  a greater  opportunity.  In  the  Works  of  Frederick  the  Great  there  are  over  two 
hundred  illustrations -by  Menzel,  engraved  by  Unzelmann,  Muller,  Albert  and 
Otto  Vogel,  and  this  work  in  thirty  volumes  was  published  by  the  Academy  of 
Sciences  of  Berlin  at  the  command  of  Frederick  William  IV.  All  the  illustrations 
had  to  be  made  of  a certain  size,  rarely  more  than  twelve  centimetres,  and  they 
were  principally  head  and  tail  pieces.  But  into  these  Menzel  has  put  the  greatest 
black  and  white  German  art  of  the  last  century.  Each  one  of  his  little  portraits,  so 
full  of  character,  is  taken  from  the  most  authentic  source.  We  hear  a great  deal 
about  painters  going  to  the  Holy  Land  and  the  East,  even  East  Side,  New  York, 
to  get  the  background  for  a more  or  less  unimportant  work,  and  how  their  paint- 
boxes and  canvases  go  wrong.  But  who  hears  of  the  hundreds  and  thousands  of 
studies  made  for  his  Frederick  the  Great  in  the  Berlin  National  Gallery;  or,  for 
that  matter,  of  the  thousands  of  miles  traveled,  and  the  difficulties  overcome 
by  the  artists  of  the  principal  illustrated  magazines  of  a few  years  ago?  Their 
object  is  the  result  which  they  got,  and  not  the  belauding  of  themselves.  The 
modern  painter  tells  what  he  is  going  to  do — and  then  can’t  do  it. 


OF  GERMAN  WORK  129 

Almost  every  one  who  has  had  royalty  for  a patron  has  enjoyed  great  liber- 
ality in  some  ways,  but  in  others  has  had  to  endure  almost  as  great  disadvantages. 
For  many  years  Menzel’s  work  was  lost  in  the  thirty  volumes  of  the  official 
edition.  This  work,  to  which  the  artist  gave  six  years  of  his  life  and  which  he 
filled  with  his  imagination  and  knowledge,  remained  almost  unknown  to  the  world 
at  large.  Fortunately  the  Museum  at  Berlin  at  length  issued  a special  edition  of 
Menzel’s  drawings.  Another  important  book  illustrated  by  him,  Kugler’s  History 
of  Frederick  the  Great , reissued  in  England,  1848,  was  the  inspiration  of  the  men  of 
1860.  Now  his  work  is  almost  as  well  known  in  France  as  in  Germany.  Master  of 
his  art,  he  recognized  the  fact  that  Germany  is  not  the  country  for  brilliancy 
of  effects,  and  he  aimed  above  all  at  perfection  of  modelling  and  the  expression 
of  detail.  Many  of  his  drawings  have  been  reproduced  in  portfolios. 

Dietz  is  another  of  the  marvelous  German  draughtsmen.  Since  the  introduc- 
tion of  photo-engraving  and  the  half-tone  process  of  reproducing  wash  drawings,  an 
entire  change  has  been  effected  in  the  pages  of  Fliegende  Blatter , Jugend  and  Sim - 
plicissimus , and  the  small  illustrated  books  either  published  in  Munich  by  the  pro- 
prietors of  Fliegende  Blatter  or  else  illustrated  by  the  artists  who  work  for  them. 
Others  were  issued  by  the  Insel  Presse  and  Pan  Presse.  These  men,  some  of  whom 
are  not  Germans,  but  Austrians  and  Hungarians,  after  studying  probably  in  the 
Munich  Academy,  started  on  the  lines  laid  down  by  Menzel  and  Dietz,  and  have 
proved  the  possibilities  of  pen  drawing  in  rendering  the  latest  fashion  in  gowns, 
and  the  pictorial  quality  that  lies  hidden  in  a dress  coat  and  a pair  of  patent- 
leather  pumps.  Their  work  shows  the  development  of  a twentieth  century  school, 
whose  point  in  common  with  those  of  other  ages  is  good  drawing.  There  is  in 
it  no  affectation,  or  imitation,  or  endeavor  to  reproduce  bygone  methods;  but 
it  is  a healthy  growth  brought  about  by  men  who  feel  and  know  that  the  work 
of  today  can,  in  its  own  way,  equal  that  of  any  other  time,  and  it  is  their  aim  to 
show  this  is  a style  of  their  own.  Such  books  as  Hacklander’s  Trouville , Ein  Erster 
und  ein  Letzter  Ball , Familien-Concert , In  den  Ardennen , In  Damen  Coupe,  Zwis- 
chen  Zwei  Regen , are,  in  their  turn,  like  Menzel  and  Fortuny,  influencing  the  whole 
world  of  pen  draughtsmen.  Where,  oh  where,  are  the  men  and  the  work  now? 

The  first  of  these  is  H.  Schlittgen,  an  artist  whose  improvement  and 
march  onward  are  simply  marvelous.  Instead  of  improving  backward,  like  so 
many  illustrators,  he  went  forward  with  every  book.  For  the  pictorial  quality  of 
German  life  in  the  nineteenth  century  one  had  only  to  look  for  his  drawings  every 
week  in  Fliegende  Blatter.  His  work  is  simple,  direct,  and  right  to  the  point,  and 
everything  is  drawn  with  a feeling  for  its  effect.  Not  a line  is  wasted.  No  one  has 
ever  done  anything  as  full  of  character  as  his  pompous  German  officers.  For 
expression  and  color,  combined  with  the  least  amount  of  work,  nothing  can  be 
found  to  surpass  his  illustrations. 

H.  Albrecht’s  work  is  almost  as  good  as  that  of  Schlittgen,  but  he  does  not 
use  his  blacks  and  whites  with  the  same  strength  and  vigor.  This  can  also  be 


130 


PEN  DRAWING 

said  of  F.  Bergen,  who,  to  my  mind,  puts  rather  too  much  work  in  his  drawings. 
One  of  the  most  independent  of  these  Germans,  a man  who  works  much  more  like 
a Frenchman  or  an  Italian,  is  Ludwig  Marold. 

Hermann  Liiders  and  Robert  Haug,  followers  of  Lang,  the  battle  painter,  did 
for  the  German  pre-war  soldier  that  which  Menzel  did  for  the  soldier  of  Frederick 
the  Great’s  time,  and  they  have  an  advantage  which  Menzel  did  not  enjoy — direct 
reproduction.  Their  style  is  quite  equal  to  and  much  more  varied  than  anything 
of  De  Neuville’s  and  Detaille’s.  In  serious  portrait-work,  not  made  for  publication, 
which  could  only  have  been  reproduced  within  the  last  few  years,  Leibl  holds  a 
remarkable  place  among  modern  draughtsmen. 

The  mystic  and  symbolic  movement — the  fad  of  the  moment  with  most — has 
some  genuine  exponents  in  Germany;  chief  among  these  was  Max  Klinger,  who, 
influenced  no  doubt  by  Bocklin  and  possibly  by  the  pre-Raphaelites,  was  pro- 
ducing work  of  this  sort  long  before  sham  mysticism  descended  upon  France, 
invaded  in  a Brummagem  fashion  the  English  Art  School,  and  hence  became  the 
thing  in  the  United  States.  There  might  be  made  a long  list  of  these  German 
Symbolists  headed  by  Stuck,  the  true  and  the  false  included;  and  not  least  in 
importance  must  be  noted  the  comic  ones,  who  in  their  way  are  as  serious  as  the 
serious  men  they  burlesque. 

Though  Germans  are  traditionally  supposed  to  be  stolid  and  phlegmatic, 
there  is  no  doubt  that  they  are  the  funniest  of  comic  draughtsmen,  who  taught 
caricature  toNast  and  Keppler.  When  the  art  of  a nation  is  so  expressive  that  one 
has  only  to  see  to  understand  it,  it  becomes  a universal  language.  Oberlander’s  and 
Busch’s  drawings  at  a glance  can  be  understood  by  the  civilized,  and,  for  that 
matter,  probably  by  the  uncivilized  world.  Like  much  of  Randolph  Caldecott’s 
work,  there  is  little  in  Busch  to  study  for  technique.  The  greater  part  of  it  is  as 
slight  as  the  funny  and  charming  sketches  Caldecott  put  in  his  letters  to  his 
friends.  Indeed,  Busch’s  work  is  a perpetual  letter  to  the  whole  world,  which  one 
who  runs  may  read.  You  cannot  look  at  it  without  bursting  into  roars  of  laughter. 
The  books  which  appeal  to  me  as  much  as  anything  Busch  has  done,  though  he 
has  made  thousands  of  drawings,  are  Max  und  Moritz , in  which  there  is  a color 
wash  over  the  pen  drawing,  and  Fijfs  der  Affe.  Oberlander’s  drawing,  on  the 
contrary,  is  comically  serious.  His  work  has  been,  until  recently,  engraved  on  wood, 
but  many  of  these  blocks,  like  the  famous  Bad  Pen  and  the  Doctor,  are  equal  to 
Menzel  at  his  best.  Oberlander  and  Busch  are  only  two  among  a hundred  comic 
draughtsmen.  Whoever  cares  for  the  work  of  these  artists  should  study  not  only 
Fliegende  Blatter , but  the  little  books  which  were  published  before  the  war. 
Among  the  most  brilliant  of  these  men  are  Hengeler  and  Meggendorfer. 

Englishmen,  and  especially  Americans,  congratulate  themselves  continually 
on  the  cleverness  of  their  pen  draughtsmen  and  illustrators,  and  clever  is  the  term 
to  apply  to  them.  But  as  a matter  of  fact,  no  cheap  book  or  paper  has  ever  been 
published  in  America,  or  illustrated  by  English  or  American  artists,  that  can  be 


OF  GERMAN  WORK  131 

compared  with  the  German  publications  I have  mentioned.  Jugend  is  a mine  of  the 
most  wonderful  work  that  has  ever  been  done  in  pen,  ink  and  chalk  reproduced  in 
black  and  white  and  by  color  printing.  There  is  not  and  never  has  been  in  any 
country  such  a storehouse  and  inspiration  for  intelligent  graphic  artists.  Simplicis- 
simus  in  a lesser  way  is  important — the  war  has  ended  all,  made  the  world  safe  for 
mediocrity.  But  the  sooner  we  get  to  know  the  work  of  German  pen  draughtsmen, 
carefully  studying  it  and  applying  it  to  our  own  country,  or  the  country  where  we 
may  happen  to  be — -though  this  admission  may  be  very  damaging  to  our  own  good 
opinion  of  our  own  work — -the  nearer  will  our  books  and  papers  come  to  being,  what 
we  are  blindly  and  stupidly  pleased  to  think  them,  the  best  illustrated  publications 
in  the  world.  It  may  be  interesting  to  know  that  some  of  those  wonderfully  illus- 
trated books  were  published  and  sold  for  ten  cents,  while  the  most  expensive  cost 
the  enormous  sum  of  a quarter.  In  the  Leipzig  1914  Graphic  Arts  Exhibition  there 
was  an  amazing  collection  of  the  work  of  the  world — the  work  of  all  the  world  save 
America.  We  had  nothing,  showed  nothing,  did  nothing  but  prove  that  we  are 
completely  out  of  any  world  competition  though  we  don’t  know  it. 

GERMAN  WORK  ILLUSTRATIONS  ADOLF  MENZEL 

MENZEL’S  pen  work  began  with  his  drawings  for  lithography,  and 
though  most  of  his  early  designs  on  the  stone  are  of  no  value  to  the 
student,  there  is  at  least  one  book  illustrated  in  this  way  with  a 
pen  and  afterwards  colored,  I think  by  hand,  which  every  student 
should  know:  his  Uniforms  of  the  Army  of  Frederick  the  Great , done  while  he  was 
occupied  on  the  History  and  Life  and  Works  of  Frederick , Germania , and  the 
History  of  Frederick  the  Great.  The  drawings  are  studies  of  costume — indeed,  one 
might  say,  nothing  but  fashion  plates  which  show  the  cut  of  the  clothes  of 
Frederick’s  army,  but  such  fashion  plates  as  had  never  before  been  made.  Instead 
of  ordinary  stupid  display  of  mere  costume  without  the  slightest  artistic  feeling 
for  the  subject,  or  else  plastered  over  with  idiotic  swirls  and  scrawls  to  hide  the 
childish  scribbling  or  incredible  proportions  of  the  figures,  every  drawing  is  a 
portrait  of  a model,  and  every  one  of  these  models  is  not  a lay  figure  to  hang 
clothes  on,  but  a live  man.  Or  compare  them  with  the  standardized,  sterilized, 
newspaperized  young  man  you  can  see  every  day  advertised  by  Ikey  Mo.  The 
ideal  of  the  humans  who  think  they  look  the  advertisements.  Let  us  hope  they 
may  never  see  or  know  what  they  really  do  look  like,  these  machine-made 
incubated  standardized  things  that  litter  America.  The  drawing  of  the  sentinel 
shows  the  cut  of  the  front  of  his  coat  perfectly,  and  what  more  could  you  want? 
the  make  of  his  gun,  the  way  he  carries  his  accoutrements,  and  yet,  only  a 
fashion  plate;  note  that  he  is  not  stupidly  standing  just  to  show  his  coat,  but  is 
plainly  a sentinel  on  duty,  yawning  with  the  bored  expression  a man  in  his  position 
would  probably  have.  This  or  another  model  can  be  seen  in  two  or  more  positions 
in  order  to  show  the  back  or  the  side  of  the  same  uniform,  but  always  the  note  is 


132  PEN  DRAWING 

character,  expression,  action,  and  not  the  mere  perfunctory  rendering  of  a coat. 
Contrast  this  bored  sentinel  with  the  conceited, self-satisfied, swaggering  trumpeter 

who,  in  the  original  draw- 
ing on  the  stone,  will  be 
found  talking  to  two  or 
three  of  his  companions. 
Technically,  I cannot  en- 
tirely commend  either  of 
these  drawings,  because 
the  very  strong  blacks 
which  one  finds  all  over 
them — in  the  knee  of  the 
sentinel,  in  his  coat  and 
his  hat,  and  in  the  boots 
of  the  trumpeter— were 
put  in  to  take  a color  wash 
in  the  book,  where  they 
do  not  tell  so  strongly  as 
they  do  here.  But,  never- 
theless, much  of  Menzel’s 
work  does  show  this  im- 
patience with  the  greying 
of  tones,  and  a desire  to 
use  pure  black  to  get  his 
effect  at  once  and  be  done 
with  it.  If  I were  criticis- 
ing the  drawings  from  the 
standpoint  of  the  critics, 
I mean  real  critics,  I 
would  have  no  right  to 
object  to  certain  technical 
details  in  such  master- 
pieces, since  the  effect  is 
right.  But  this  slapdash 
manner  of  blotting,  as  in 
the  right  boot  of  the 
trumpeter — not  the  right 

blotting  of  the  Spaniards  and  Italians — cannot  be  commended  for  the  student. 
With  him  it  would  only  be  carelessness;  with  Menzel,  it  is  impatience  with  details 
he  knows  he  can  render  if  he  wants  to.  For  a proof  of  this,  look  at  the  coat  of 
the  full-dress  uniform  of  Frederick.  The  gold  lace  is  worked  out  as  carefully  as  a 
mechanical  draughtsman  would  draw  the  parts  of  a machine,  or  a naturalist 


OF  GERMAN  WORK  133 

study  the  wings  of  a fly.  Note  how  he  has  given  the  set  of  the  coat,  the  hang  of 
the  folds,  expressed  the  color  and  sheen  of  the  silk,  although  the  actual  color  was 
put  on  over  it,  and  do  not 
attempt  to  say  he  could  not 
draw  detail  when  he  wanted. 

Why,  everything  is  even 
measured,  and  this  is  only  a 
bit  of  one  of  the  enormous 
pages;  on  the  same  page  there 
are  details  of  hats  and  swords 
and  of  canes,  to  a measured 
drawing  of  the  weaving  of  a 
sash.  But  if  Menzel  had  done 
these  things  later  he  would 
have  gotten  a better  result, 
for  two  reasons,  though  he 
at  the  last  used  charcoal  or 
chalk  almost  altogether;  these 
were  drawn  on  the  stone  with 
lithographic  ink,  which  is, 
first,  a tedious  and  slow  proc- 
ess, that  is,  to  work  as  he  did; 
and  secondly,  it  is  almost  im- 
possible to  print  lines  as  finely 
as  they  are  made,  because,  as 
any  one  who  has  tried  it 
knows,  lithographic  ink 
spreads  or  blots  easily,  or  if  it 
does  not  blot,  the  result  is 
much  thicker  and  harder  and 
blacker  on  white  paper  than 
the  original  drawing  on  the 
beautifully-toned  stone.  I show 
them  as  models  of  expression 
and  good  drawing  rather  than 
of  technique.  Personally,  I 
prefer  the  delicate  refinement 
of  Abbey  to  the  brute  strength 
of  Menzel.  Both  men  can  draw  details;  but  Abbey  seems  to  love  them;  Menzel, 
though  he  never  slights  or  draws  them  badly,  apparently  hates  to  be  obliged 
to  do  them. 

I do  not  want  it  to  be  thought  that  Menzel  did  not  as  a rule  draw  details. 


134 


PEN  DRAWING 

When  working  for  the  wood-engraver  he  used  the  most  marvelous  refinement  of 
detail  ; when  working  for  himself,  as  the  illustrator  of  today  works,  he  was  bold 
and  free  as  these  drawings  show. 


The  half-length  portrait  is  not,  as  one  might  imagine,  a reduction  of  a steel 
engraving,  but  one  of  the  subjects  (Karl  von  Winterfeld)  in  The  Heroes  in  Peace 
and  War  of  Frederick  II,  engraved  by  E.  Kretzschmar;  not  only  a wonderful 
drawing,  but  apparently  a magnificent  effort  of  genuine  facsimile  wood-engraving. 
The  portrait  has  lost  much  of  its  original  delicate  greyness,  though  there  is  much 
over-elaboration  in  it  and  many  unnecessary  lines. 

I had  hoped  to  have  included  some  of  the  small  engravings  from  the  designs 
for  The  Works  of  Frederick  the  Great , which  show  most  conclusively  that  even  if 
Menzel  did  not  invent  modern  illustration,  he  has  inspired  most  of  the  men  of 
today.  But  Menzel  told  me  that  these  drawings  were  made  with  a hard  pencil,  and 
not  with  a pen,  and  therefore  he  did  not  wish  them  included. 

The  study,  the  thought,  the  knowledge  which  have  been  put  into  these  small 
blocks  are  the  same  that  went  into  his  large  works  in  oil,  and  he  is  far  more  success- 
ful in  black  and  white,  as  a rule.  But  unless  one  feels,  like  Menzel,  that  illustration 
is  quite  as  serious  as  any  other  form  of  art,  there  is  very  little  use  attempting  it. 
Though  hacks  may  flourish,  and  ignorant  editors  do  their  best  to  debase  and 


136 


PEN  DRAWING 

prostitute  illustration  and  design,  they  will  have  no  effect  on  the  work  of  Menzel 
and  Meissonier,  and  the  knowledge  of  these  two  great  men  must  grow  and  have 
its  true  effect. 


H.  SCHLITTGEN 

SCHLITTGEN  is  the  best  known  of  all  the  German  draughtsmen,  and  these 
two  drawings  are  fair  examples  of  his  style.  To  the  simplicity  of  character 
sketching  of  Haug  and  Liiders  is  added  the  use  of  pure  strong  color,  as  in  the  dress 
of  the  girl  in  the  foreground  of  the  large  drawing.  There  is  very  little  to  say,  except 
that  his  work  is  very  brilliant  and  has  influenced  the  pen  draughtsmen  of  the 
world.  When  I say  this  I wish  to  eliminate  most  of  these  United  States  in  which  it 
is  a crime  to  see,  to  study,  to  profit  by  the  work  of  our  fellow  craftsmen  today. 
Yet  the  most  superficial  glance  at  this  drawing  will  show  where  many  of  our 
illustrators  have  got  their  style  or  tried  to  get  it.  Notice  the  charming  grouping  of 
the  figures,  and  the  action  and  movement  which  pervade  the  whole  given  with  the 
fewest  lines.  Notice,  too,  the  thoughtful  placing  of  the  little  blacks  and  whites, 
their  arrangement  against  each  other  so  as  to  tell  with  the  most  effect.  Everything 
in  Schlittgen  is  studied  and  thought  out  in  the  most  careful  manner. 

The  large  drawing  is  from  Trouville ; the  smaller  one,  which  shows  most  per- 
fectly what  might  be  called  his  serious  caricature,  is  from  Ein  Erster  und  ein 
Letzter  Ball , and  is  a wonderful  rendering  of  that  wonderful  creation,  the  German 
officer. 

All  the  Hacklander  books,  from  which  these  are  taken,  should  be  seen  and 
studied,  if  they  can  be  found — all  this  is  gone  never  to  return — probably  many  of 
the  artists,  too.  I am  trying  to  show  in  this  book  the  great  work  that  has  been 
done  as  a contrast  to  the  rubbish  that  is  being  done. 


138  W.  DIETZ 


PEN  DRAWING 


THE  late  Munich  professor  made  any  number  of  illustrations  for  Fliegende 
Blatter.  The  design  shows  how  well  he  was  able  to  carry  out  the  feeling  of  the 
old  Dutchman  with  a handling  all  his  own,  though  it  suggests  both  Menzel  and 
Vierge.  Still,  the  barrels  in  the  foreground,  the  drawing  of  the  grass,  and  the 
toned  side  of  the  house,  might  have  been  much  better  rendered  with  no  greater 

work.  But  the  group  of  little  figures  is  in  power 
and  completeness  ol  expression  equal  to  any- 
thing in  the  book.  And  it  is  this  power  of  ex- 
pression, combined  with  care  in  the  selection 
of  each  line,  which  marks  the  modern  German 
style  of  drawing.  This  thought  for  line,  which 
interests  and  fascinates  all  artists,  distinguishes 
the  work  of  these  Germans  from  the  equally 
simple  but  utterly  careless  and  thoughtless 
engraved  line  ol  men  like  Cruikshank,  Doyle, 
Leech,  and  their  English  followers.  The  ideals 
of  the  artless — the  idols  of  the  collector — when 
will  modern  illustrations  be  collected — modern 
illustrators  appreciated? 


OF  GERMAN  WORK  ROBERT  HAUG  AND  HERMANN  LUDERS  139 

NONE  of  the  German  publications  and  books,  with  the  exception  of  Fliegende 
Blatter  and  the  little  volumes  I have  mentioned,  illustrated  by  the  artists  of 
that  paper,  had  a very  wide  circulation  among  English-speaking  people.  While 
nearly  every  German  city  of  any  importance  possesses  an  art  academy,  one  at 


least  having  a world-wide  reputation,  it  is  rather  strange  that  a greater  number  of 
really  good  pen  drawings  are  not  seen.  Though  probably  there  are  innumerable 
Germans  who  do  very  good  work  with  a pen,  the  fact  remains  that  but  very  few 
seem  to  care  to,  or  do,  get  their  work  published.  I do  not  know  if  in  Germany  there 
exists  a prejudice  against  the  employment  of  a new  man,  as  I regret  to  say  there 
does  in  certain  quarters  in  other  countries,  unless  as  here  he  prigs,  copies,  steals 
someone  else’s  motives  and  methods — when  he  is  welcomed,  especially  if  the  stolen 
goods  are  for  sale  cheap — cheaper  than  the  work  of  the  men  he  steals  from. 
However  that  may  be,  only  the  work  of  the  men  here  represented  is  seen  to  any 
great  extent,  and,  interesting  as  it  would  be  to  discover  work  done  by  the  artist 
for  study  or  practice,  it  is  the  object  of  this  book  to  show  the  work  of  men  who 
have  been  recognized  as  illustrators. 

Hermann  Liiders  and  Robert  Haug  are  two  most  notable  followers  of  Menzel, 
and  in  two  small  drawings — all  their  drawings  I know  are  small — can  be  seen  most 
clearly  their  style  which  is  very  similar,  and  consists  of  the  greatest  expression  of 
character  given  in  the  fewest  possible  lines.  Contrast  the  light,  dapper  officer  in 
Liider’s  drawing  of  a review,  in  Ein  Soldatenleben , with  the  heavy  files  which  are 
passing.  Although  the  drawing  is  almost  in  outline,  you  can  see  the  different 
quality  of  the  cloth  in  the  officer’s  and  in  the  privates’  uniforms,  and  every 
soldier’s  face  has  a character  of  its  own,  although  it  may  be  given  in  only  two  lines. 
Notice  the  curve  shown  in  the  feet  of  the  advancing  file — -the  curve  which  is  always 
seen  in  any  column  of  marching  men.  The  tiny  portraits  of  the  Emperor,  the 
Crown  Prince,  and  Von  Moltke,  are  quite  as  complete  and  satisfactory  as  any 


i4U  PEN  DRAWING 

huge  work  in  oil,  and  this  small  drawing  contains  as  much  character  and  as  much 
feeling  for  the  quality  of  line  as  any  etching  that  was  ever  done.  I know  there 


would  be  more  refinement  in  the  etched  line,  but  these  two  drawings  in  their  way 
are  perfect. 

The  drawing  by  Haug  of  the  cavalry  passing  is  from  Ein  Schloss  in  den 
Ardennen , and  of  it,  especially  of  his  drawing  of  horses,  exactly  the  same  things 
may  be  said  as  of  Liider’s  work.  Both  of  these  books — and  it  may  here  be  noted 
that  Ein  Soldatenleben  is  written  as  well  as  illustrated  by  Hermann  Liiders — 
should  be  known  and  studied,  as  well  as  Vierge’s  Pablo  de  Segovie  and  Abbey’s  and 
Parsons’  Old  Songs , by  all  who  wish  for  style  and  care  for  the  best  results  in  pen 
drawing.  These  drawings  were  reproduced  in  Vienna.  Alas,  though  blue  and  red 
and  white  books  litter  the  earth,  art  books  like  these  are  hard  to  find  now. 

A.  OBERLANDER 

OBERLANDER  is  always  called  a caricaturist  (he  may  be  dead — the  death 
of  a great  artist  passes  unnoticed;  Klinger  had  a line  or  two  in  the  Spring  of 
1920)  and  he  is  a caricaturist  in  the  true  sense  of  the  word,  for  he  shows  in  his 
drawings  the  humorous  side  of  his  subject  without  aggressive  exaggeration,  and 
in  a manner  which  interests  artists  as  well  as  people  who  have  no  knowledge  of  art. 
The  caricaturist  who  merely  puts  a little  head,  a big  nose,  or  long  legs  to  a figure, 
without  drawing  it  in  a good  technical  style,  and  expects  people  to  laugh  at  it, 
although  he  may  appeal  to  a vast  inartistic  public  for  a moment,  because  this 
abomination  somewhat  suggests  a notoriety  or  celebrity,  cannot  permanently 


142 


PEN  DRAWING 

attract  those  who  really  care  for  art.  Can  anything  be  more  wearisome  than  to  go 
through  either  one  of  the  histories  of  caricature  or  a file  of  the  political  comic 
papers?  You  turn  over  page  after  page  only  to  find  the  stupid  portrayal  of  for- 
gotten men  and  unremembered  and  trivial  events.  Without  the  legend 
accompanying  them' they  are  unintelligible,  and  nearly  always  the  events  which 
led  to  the  publication  of  the  picture  are  forgotten  and  all  interest  in  the  subject 
has  ceased.  The  man  who  puts  down  such  trivialities  and  the  public  who  appreciate 
them  are  not  much  above  the  schoolboy  who  scrawls  the  effigy  of  his  schoolmaster 
on  a back  fence;  still  they  are  nothing  to  the  rubbish,  rot  and  trash  of  the 
American  comic  and  commercial  artists — the  ideals  of  the  vulgar  American  savage, 
and  the  numbers  of  this  tribe  are  one  hundred  million.  I do  not  mean  to  say  for 
a moment  that  all  caricatures  should  be  as  elaborate  as  this  of  Oberlander.  Many 
other  men  can  tell  a story  in  half  a dozen  well  disposed  lines.  But  a caricaturist 
who  can  work  out  a drawing,  and  yet  keep  in  it  the  comic  and  amusing  element, 
possesses  a power  given  to  few. 

I care  not  for  a minute  if  this  is  a portrait  of  a doctor  in  Berlin  or  Munich,  or 
only  of  a model.  The  subject  is  of  no  importance,  but  the  way  in  which  it  is  worked 
out  is  of  the  greatest  value  to  artists.  I am  very  sorry  that  the  drawing  has  been 
engraved  on  wood;  though  it  has  been  very  well  cut  by  Roth,  in  all  of  the  darker 
parts  the  pen  quality  is  lost  in  the  wood-engraved  line.  But  as  the  drawing  was 
most  likely  made  on  the  block — at  least  I have  never  been  able  to  find  out  any- 
thing about  the  original — this  was  all  I could  give.  However,  what  remains  of  it 
reaches  the  highwater  mark  of  caricature. 

Any  number  of  Oberlander’s  drawings  can  be  found  in  the  German  papers, 
from  which  they  are  often  taken  by  the  periodicals  of  the  whole  world,  as  they 
can  be  understood  by  everyone  without  a story  to  explain  them.  In  fact  our 
brilliant  young  men  find  them  a mine  of  information,  subject  and  suggestion,  and 
why  not?  The  drawing  of  the  primitive  lover  on  his  way  to  greet  his  mistress — or 
is  it  the  returning  of  a devoted  or  erring  husband — is  very  good. 


OF  GERMAN  WORK  LUDWIG  MAROLD 


143 


MAROLD’S  work  possesses  more  of  the  cleverness  of  half  a dozen  Italians, 
though  it  is  not  an  imitation  of  any  one  of  them,  than  that  of  any  other 
German  I know.  The  drawing  in  the  hands  of  the  three  girls  is  very  careless;  but 
the  simplicity  of  the  work  combined  with  the  strong  bits  of  color  and  the  character 
in  the  faces  make  a whole  which  is  very  pleasing  and  interesting,  and  which 
certainly  has  a style  of  its  own. 


/ *•# 


144  ALBERT  RICHTER  AND  OTHER  ARTISTS  IN  “UNIVERSUM” 

WHILE  Fliegende  Blatter  and  its  artists  are  known  everywhere,  magazines 
like  Universum , Kunstjur  Alle , Fels  zum  Meer>  Daheim  had  little,  if  any, 
circulation  in  English-speaking  countries.  And  it  is  only  occasionally,  for  a year 
or  six  months  at  a time,  that  these  magazines  rise  to  the  level  of  originality.  It  has 
been  less  a surprise  to  find  ! 

my  own  work  in  some  of 
them  than  to  discover 
good  original  drawings. 

For  though  they  borrow 
from  all  sources,  they 
rarely  keep  up  a high 
standard  in  work  done 
specially  for  them.  I have 
already  referred  to  the 
series  of  reproductions  by 
Angerer  and  Goschl  after 
Rembrandt  in  Daheim , 
where  they  made  an  oasis 
in  a desert  of  common- 
places; in  half  a ton  of 
Fels  zum  Meer , there  is 
hardly  a notable  drawing 
done  by  a German  in  pen 
and  ink;  but  in  Univer- 
sum , at  times  straight 
away  for  a year,  one  will 
find  a number  of  good  drawings,  and  then  the  magazine  will  degenerate,  only  to 
be  revived  again.  All  through  it,  however,  there  is  good  decorative  work  by  E. 
Unger,  two  of  whose  very  characteristic  designs  I have  included  in  the  Chapter 
on  Decoration.  There  is  Scheyner,  who  draws  like  Haug,  and  Mandlick,  who 
works  like  Schlittgen.  But  I think  the  most  original  of  all  the  men  who  have 
illustrated  this  magazine  is  Albert  Richter,  who  draws  landscape  and  interiors, 
three  of  whose  drawings  are  given  on  these  pages.  The  expression  of  detail  in  the 
carving  over  the  open  doorway  and  in  the  corner  of  the  room  is  very  well  rendered, 
while  the  bit  of  a German  town  is  extremely  characteristic,  the  German  feeling 
being  well  kept.  The  drawings  are  very  slight,  but  despite  this  slightness  there  is 
evident  a great  desire  to  show  with  the  simplest  means  the  most  picturesque 
aspects  of  very  commonplace  subjects.  In  fact  they  possess  the  true  illustrative 
quality.  These  are  the  sort  of  drawings  that  should  be  used  in  commercial 
catalogues. 


OF  GERMAN  WORK  HERMANN  VOGEL  145 

AMONG  all  foreign  black  and  white  men,  none  is  more  interesting  than  Her- 
mann Vogel.  He  worked  for  some  time  on  Fliegende  Blatter , and  then,  like 
Marold,  Rossi,  Tofani,  Myrbach,  and  Vierge,  found  himself  in  Paris.  The  effect  of 


lighting  in  the  large  drawing,  Cortesia,  is  excellent;  so,  too,  is  the  suggestion  of 
color.  One  is  reminded,  it  is  true,  of  several  other  men,  but  still  the  whole  is  most 
interesting.  The  interior  of  The  Salon  is  very  good,  the  grace  of  the  woman,  the 
way  the  two  men  stand  and  sit,  and  the  leaving  of  the  walls  white,  though 
they  are  in  shadow,  is  most  cleverly  managed.  The  pictures  on  them  are  well 
suggested  and  the  furniture  carefully  studied;  altogether  this  is  a most  simple 


and  satisfactory  rendering  of  a difficult  subject.  Vogel’s  many-sidedness,  an  absolute 
necessity  for  an  illustrator,  is  shown  in  the  landscape.  There  is  the  most  careful  feeling 
for  line  in  the  study  of  the  trees,  in  the  wet,  muddy  road,  and  in  the  general  realism 
of  things;  and  all  his  work  is  done  with  a frank,  painter-like  simplicity  which  makes 
him  a very  excellent  master  to  follow. 


OF  GERMAN  WORK  A.  STUCKI 


149 


THERE  is  nothing  more  difficult  to  draw  with  a pen  than  low  relief  or  dec- 
oration, and  while  Jacquemart,1  with  his  books  made  rare  by  limited 
editions,  nearly  always  illustrated  with  etchings,  and  therefore  only  for  collectors 
and  amateurs,  gained  a great  reputation;  this  man  who  can  draw  just  as  well  and 
with  as  much  feeling  for  light  and  shade  and  color  and  the  play  of  reflections  on 
polished  surfaces,  in  which  lay  Jacquemart’s  great  strength,  is  unknown  because, 
though  he  treats  the  same  objects  in  the  same  manner,  he  draws  them  with  a 
pen.  The  sole  difference  is  that  Stucki  works  for  the  people,  and  Jacquemart, 
catered  to  the  collector  who  is  usually  unable  to  appreciate  his  work  technically. 
The  chasing  and  the  roundness  and  the  metallic  feeling  of  this  cup  or  chalice 
could  not  be  better  rendered  by  any  other  medium.  In  the  Century  and  Harper  s 
there  have  been  published  drawings  by  Will  H.  Drake  and  Otto  Bacher,  which  are 
as  good  as  this.2  The  background  and  the  surface  on  which  the  chalice  stands  are 
meaningless  in  line. 

JOSEPH  SATTLER 

SATTLER  seems  to  have  survived  the  war  and  his  books  are  again  appearing. 

He  is  one  of  the  most  brilliant  technicians,  having  founded  himself  on  Differ 
and  Holbein,  yet  he  has  taken  advantage  of  all  modern  methods.  I do  not  even 
know  how  this  remarkable  design  from  his  Dance  of  Death  has  been  reproduced— 
probably  by  offset  or  rotogravure,  for  before  the  war  the  Germans  in  reproduction 
had  done  things  we  have  not  yet  dreamed  of  and  never — if  things  go  on  as  they 
are — will  do.  Here  it  has  been  processed  very  well  by  the  Weeks  Company. 

Herr  Sattler  has  won  for  himself  a distinguished  position  in  Jugend , as  I have 
said,  to  which  an  army  of  young  artists  contribute.  This  weekly  is  using  all  the 
newer  methods  of  color-printing  and  process;  is  reviving  by  means  of  lithography 
and  line  the  old  effects  of  chiaroscuro  engraving,  and  is  in  every  way  the  most 
modern  and  lively  of  illustrated  papers,  and  reflects  great  credit  on  the  publisher, 
Hirth  of  Munich,  who  has  hitherto  been  known  chiefly  for  his  reproductions  of  old 
prints  and  engravings. 

Among  the  more  notable  contributors  to  this  journal,  which  every  week 
appears  with  a different  cover  in  color — and  some  of  these  covers  are  most  ex- 
cellent— is  Otto  Greiner,  whose  drawings  may  be  found  in  the  decorative 
chapter  (Greiner  was  killed  early  in  the  war),  while  Franz  Stuck  has  contributed 
several;  some  of  his  drawings  and  those  of  Seitz  have  been  marvelously  repro- 
duced by  lithography  and  process  tint  work,  by  which  means  they  give  exactly 
the  effect  of  the  old  block  work  in  color.  I am  very  sorry  that,  owing  to  the  com- 
plicated nature  of  the  printing,  it  is  impossible  to  include  them. 

There  are  several  other  contributors  to  Jugend  who  might  have  been  included, 
but  there  are  enough  examples,  not  only  to  demonstrate  that  there  is  an  extremely 

1 See  French  Chapter  for  Jacquemart. 

2 See  American  Chapter. 


brilliant  group  of  men  in  Germany — or  there  was  before  the  cursed  war— but  also 
to  prove  that  the  most  intelligent  attention  was  paid  to  the  revival  of  some  of  the 
old  decorative  forms,  without  the  imperfections  and  limitations  imposed  by  the 
old  methods. 


Schmidt-Helmbrechts 


152  E.  PASCIN 


PEN  DRAWING 


ImmmSm... 


'J'hc  Support  of  the  Family.  Excellent  example  of  pen  and  wash  drawing. 


OF  GERMAN  WORK  O.  GULBRANSSON 


153 


The  Brother’s  Visit.  Line  and  wash,  the  latter  reproduced  by  aquatint 
Good  use  of  pen  outline;  grey  tint  and  solid  black. 


While  here  we  are  slavishly  imitating,  to  a great  extent,  in  Germany — the 
home  of  printing — tradition  was  rightly  carried  on.  While  here  one  may  confuse 
the  work,  or  even  be  unable  to  distinguish  the  work  of  individuals,  there  one  runs 
no  more  danger  of  doing  so  than  of  mistaking  Diirer  for  Holbein.  One  of  these 
artists,  R.  Engels,  is  certainly  greatly  indebted  to  Mr.  Anning  Bell;  but  all  the  rest 
are  assuredly  themselves. 

It  seems  to  me  that  H.  Rossmann  has  given  quite  a new  feeling  to  the  pen 
line,  one  of  fullness  and  richness,  exceeding  anything  that  has  been  done  before. 
Another  is  rather  French  and  realistic,  Von  Rezenicek,  but  good  in  his  fashion; 
this  example,  however,  is  but  the  key-block  to  a color-print.  Schmidhammer,  with 
his  Gulliver-like  demon,  expresses  his  tiny  crowd  remarkably.  Carben  is  rather 
wooden  and  square,  but  there  is  decided  individuality  in  his  line,  and  the  drawing 
is  well  put  together.  Schmidt-Helmbrechts  carries  on  the  tradition  of  the  classic 
landscape  with  great  beauty  of  line  and  excellence  of  arrangement,  while  the 
unsigned  drawing  has  so  much  character  that  I am  glad  to  show  it — though  I do 
not  know  the  name  of  the  artist. 

Simplicissimus , too,  though  more  given  to  comics  and  caricatures,  is  wonder- 
fully illustrated.  What  happened  after  that  black  pall  fell  on  Europe  I know  not. 
May  we  emerge  from  the  present  dark  age — -though  there  is  no  sign  of  it.  What  I 
have  seen  is  either  pathetic  or  decadent;  art  has  fled  the  land.  And  after  came  the 
great  darkness  and  so  far  as  England  and  America  are  concerned,  German  and 
Austrian  art  is  wiped  out.  Another  of  the  horrors  of  war.  As  one  day  I walked 
through  in  June,  1914,  the  wonderful  Leipzig  International  Graphic  Art  Ex- 


hibition,  with  the  head  of  the  German  section  of  The  Leipzig  Book  Work  School 
and  the  Director  of  the  Edinburgh  College  of  Art,  the  German  Professor,  pointing 
to  the  work  on  the  walls  mostly  diseased  beyond  words,  said:  “We  are  in  the 
same  state  that  Greece  and  Rome  were  before  they  fell,  and  something  awful  is 
going  to  happen  to  us.”  In  a few  weeks  it  happened  and  internationally  the  arts 
of  those  lands  have  disappeared.  What  is  left  in  the  German  magazines  and 
papers  that  I have  seen  is  poor  indeed.  Russia  is  wiped  out  and  nothing  comes 
here  from  Scandinavia  or  Belgium,  though  the  Belgians  are  at  work  again — but 
the  outlook  is  black — but  a new  art  age  will  come. 


156  BRUNO  PAUL 


PEN  DRAWING 


"! 

! 

0 

1 

'fl 

The  Bath  House.  Excellent  example  of  brush  work;  also  extraordinary  caricature. 


OF  GERMAN  WORK  A.  WEISGERBER 


157 


Evolution.  Line  and  wash.  Brilliant  contrasts  have  been  simply  obtained. 


158  O.  GULBRANSSON 


PEN  DRAWING 


OLPiFfr, 


Sir  Edward’s  New  Year’s  Programme.  Line  and  wash,  most  simply  and 
expressively  done. 


OF  GERMAN  WORK  FRANZ  VON  STUCK 


159 


STUCK  is  one  of  the  most  brilliant  of  that  band  of  German  mystics  and 
symbolists,  which  includes  such  men  as  their  master  Arnold  Bocklin,  Max 
Klinger,  Otto  Greiner  and  Hans  Thoma.  They  are  many-sided,  like  Sandys  alone, 
among  Englishmen.  And  like  him  they  value  good  drawing  equally  with  mysticism 
and  romance,  and  all  are  dead  and  gone. 

Stuck  began  as  a comic  draughtsman  and  designer  of  menu  and  show  cards, 
went  on  to  Fliegende  Blatter , where  his  designs  for  the  months  made  a great  sensa- 


160  PEN  DRAWING 

tion.  The  December  is  one  of  them;  but  his  most  powerful  design  for  that  paper 
is  probably  his  Death  of  the  Emperor  William — -a  great  composition,  finely 
handled,  which  I am  glad  to  have  the  chance  to  reproduce.  Now  his  work  is  more 
in  color  and  in  the  round.  Centaurs  and  fauns  are  his  delight,  and  he  loves  to  show 
the  bright,  gay,  joyous  human  life  they  led,  especially  the  fun  they  had.  And  all 


through  Fliegende  Blatter  it  is  the  pranks  and  scrapes  of  Love  that  he  draws.  But 
there  is  no  end  to  his  quaint,  horrible,  grave,  and  gay  inventions,  and  it  is  a 
pleasure  to  turn  to  such  bright,  good  work,  away  from  the  black  veil  which 
hangs  over  middle  Europe;  he  is  said  to  have  been  killed. 

Stuck’s  line  is  clean  and  simple,  though  in  the  background  of  the  Germany 
there  is  a dragged,  painty  effect,  obtained,  I should  think,  with  a half-dry  brush 
or  pen.  This  centaur  driven  by  the  Puck  is  done  with  a brush,  and  the  background 
is  all  wash,  but  now  almost  any  work  can  be  reproduced,  so  this  does  not  exclude 
it.  The  way  in  which  each  line  is  used  to  express  modelling  and  action  should  be 
noted  quite  as  much  as  the  energy  of  the  man-beast  or  abandon  of  the  little  imp. 


OF  GERMAN  WORK  A.  MUNZER 


161 


life! 


W0A 


W-fiu 


•'  ••  ’./fc  i'i  - < 


The  Colonial  Lady.  Brush  and  pen  work;  the  tones  made  with  spatter  work 
and  reproduced  in  line. 


162  MAX  KLINGER 


PEN  DRAWING 

THOUGH  a younger  man  than  Arnold  Bocklin,  Max  Klinger  may  be  almost 
ranked  with  him.  Dr.  Singer,  of  the  Dresden  Museum,  has,  at  Klinger’s 
request,  lent  me  this  drawing,  which  Klinger  considered  a good  example  of  his 
work.  I am  sorry  that  it  is  not  more  characteristic  of  his  serious  work,  where  great 
beauty  of  line  and  perfect  handling  are  employed  in  his  rendering  of  romantic  or 
classic  subjects.  Klinger  died  almost  unnoticed  in  the  Spring  of  1920. 

Klinger’s  pen  drawings  were  usually  studies  for  his  etchings,  and  these  pen 
drawings  are  carried  out  in  a most  masterly  fashion. 

Here,  however,  the  humor  ol  the  German  mystic  asserts  itself  in  a most 
amusing  fashion.  The  contrast  between  the  ape-like,  half-blind  old  person  and  the 
almost  pre-Raphaelite  female  is  good;  why  they  both  worship  before  the  de- 
capitated heads  I do  not  know;  it  may  be,  however,  that  the  top  hat  is  their  shrine. 
The  drawing  is  a burlesque  of  a function  held  in  Berlin,  but  it  is  quite  too  local  to 
be  intelligible.  There  are  some  examples  ol  Klinger’s  etched  work  in  collections 
here,  his  edition  of  The  Golden  Ass  of  Apuleius  and  his  Symphonies  are  well  known. 
In  the  books  the  etchings  have  lost  much  of  the  freedom  of  his  pen  work;  but 
in  the  Print  Rooms  of  Berlin  and  Dresden,  especially  the  latter,  his  finest  work, 
both  in  drawing  and  etching,  is  to  be  found.  Although  his  subjects  are  almost  in- 
variably those  of  Holbein  and  Diirer,  he  brings  his  work  up  to  date.  One  has 
always  haunted  me — a dance  of  death.  A railway  train  is  rushing  rapidly  toward 
you;  the  engine  and  carriages  are  most  carefully  studied,  the  rails  and  the  smoke 
make  marvelous  lines,  the  landscape  is  sombre,  and  right  in  the  foreground  Death 
has  fastened  himself  to  the  rail — in  a moment  there  will  be  a terrible  accident. 
The  idea  is  as  old  as  the  world,  the  conception  and  execution  the  work  of  a man  of 
today.  These  drawings  are,  luckily,  almost  all  owned  by  the  great  galleries  of 
Germany,  as  well  as  the  portfolios  of  etchings,  published  in  very  limited  editions, 
made  from  them.  Klinger,  too,  was  much  moved  by  socialism  and  the  people — did 
he  know  that  disaster  was  coming  to  the  world  and  try  to  warn  us? 


164  WILHELM  LEIBL  PEN  DRAWING 

I HAVE  never  seen  the  drawing  from  which  this  block  was  made.  But  I have 
seen  several  pen  studies  by  this  artist;  and,  though  in  many  ways  unsatis- 
factory as  the  reproductions  are,  in  fact  impossible  as  the  originals  are  to  repro- 
duce, they  are  of  such  distinction  and  individuality  that  they  demand  a place  as 
the  work  of  a master. 

All  Leibl’s  pen  drawings  that  I have  seen  were  made  on  white  or  tinted  paper 
with  very  grey  ink,  reinforced  with  washes  of  the  same,  or  intenser  tones.  Conse- 
quently, when  these  are  reproduced  by  process,  a great  and  unavoidable  change 
takes  place.  First,  they  become  very  much  darker  all  over,  as  it  is  impossible  with 
black  printing  ink  to  render  the  delicate  grey  of  the  paper;  then  the  grey  ink  work 
becomes  much  darker,  because  the  grey  tone  of  the  paper  is  under  it,  and  it  is 
impossible  to  retain  the  silvery  quality  of  the  ink  in  any  reproduction  though  it  is 
at  times  very  nearly  approached.  The  look  of  Leibl’s  work  is  best  kept,  I imagine, 
on  the  left  side  of  the  coat,  where  the  grey,  watery  ink  lines  may  be  easily  studied— 
though  they  are  much  darker  than  in  the  original — but  in  the  head  they  have  been 
lost  in  the  general  mass.  Still,  the  drawing  of  the  head  is  so  fine  that  the  modelling 
is  expressed,  even  though  the  lines  which  produced  it,  in  many  parts,  have  dis- 
appeared. I do  not  think  there  is  much  handwork  on  this  block,  which  it  seems  to 
me  has  been  admirably  reproduced  by  Angerer  and  Goschl. 

This  drawing  is  reproduced  by  the  half-tone  process,  and  the  lines  come  in  the 
tint,  and  a far  truer  and  simpler  effect  is  thus  produced  than  by  any  attempt  at 
cleaning  up  the  background  and  digging  out  the  greys  between  the  lines,  while  the 
charcoal  or  crayon  work  around  the  hat  is  retained.  This  half-tone  method  has 
superseded  the  line  method  because  the  effect  is  just  as  true,  and  a blending  en- 
veloping tone  is  added,  giving  a result  approaching — with  good  printing — an 
etching.  The  best  method  of  all  is  by  the  offset  press  described  in  Lithography 
and  Lithographers. 


166  RUDOLPH  WILKE 


PEN  DRAWING 


This  drawing  was  made  with  the  double  line  pen.  1 he  double  lines  can  be 
seen  in  many  parts  of  the  print. 


OF  DUTCH,  DANISH  AND  OTHER  WORK  CHAPTER  V 

THERE  are  probably  good  pen  draughtsmen  in  Belgium,  Austria,  and 
Russia,  or  there  were.  But  the  best-known  artists  of  all  these  countries 
almost  invariably  leave  their  native  land  to  live  in  Venice,  in  Paris,  or  in 
London.  Now  they  are  flocking  over  here,  but  not  for  inspiration — but 
for  our  cash.  In  Vienna  the  first  international  exhibition  of  black  and  white 
illustrative  work  was  held  in  1882;  the  last  and  a greater  began  with  the  war,  in 
Leipzig,  in  1914,  but  of  the  present  art  of  these  countries  it  is  almost  impossible 
to  see  anything  today.  Even  the  catalogues  which  I had  about  me  have  dis- 
appeared in  the  fall  of  the  world.  The  trouble  is  that  the  illustrated  books  and 
papers — the  exhibitions  of  pen  drawing — of  these  countries  did  not  circulate  all 
over  the  world  before  the  war,  as  do  those  of  France,  England,  and  the  United 
States. 

Niccolo  Masic,  a Hungarian,  and  Repine,  a Russian,  who  is  said  to  have  been 
killed  and  his  paintings  destroyed,  are  men  whose  pen  work  stands  out  in  any 
illustrated  catalogues.  There  were  many  Russian  color  books  but  I never  cared 
much  for  them.  In  Mask’s  designs  there  is  a suggestion  of  Vierge.  In  Denmark  and 
Holland  alone  are  there  to  be  found  original  artists,  who  remain  in  theirowncountry, 
and  publishers  enterprising  enough  to  bring  out  their  drawings  in  a decent  fashion. 
Denmark  possesses  Hans  Tegner,  who  has  done  a marvelous  series  of  drawings 
• for  Holberg  s Comedies , a really  great  artist.  In  Denmark,  too,  the  silhouettes  of 
Paul  Konewka  were,  so  far  as  I know,  first  published.  Curiously,  not  a single 
artist  was  produced  by  the  war,  many  were  killed.  Some  of  the  older  maintained 
and  strengthened  their  reputations,  many,  for  a moment,  got  in  the  limelight. 
Among  them  the  Dutchman  Raemakers,  but  Raemakers’  work  or  the  greater  part 
of  it  was  in  chalk  and  wash,  not  pen  and  ink.  And  he  therefore  can  be  dismissed. 
The  chalk  is  easier  than  the  pen. 

In  referring  to  nearly  all  illustrated  catalogues  or  rather  to  those  I can  find, 
I also  find  that  the  same  pictures,  which  have  been  the  admiration  of  the  Salon , 
travel  around  with  their  accompanying  reproductions  from  one  art  center  to 
another.  In  Holland  there  was  a very  fair  monthly  magazine  called  Elzevir , while 
H.  J.  Icke’s  drawings  after  the  old  masters  are  amazing.  From  Norway  come 
Carl  Larson’s  children’s  books,  mostly  in  color,  though  with  a line  key  block; 
they  are  delightful. 


OF  DUTCH,  DANISH  AND  OTHER  WORK  ILLUSTRATIONS 

TEGNER  with  one  set  of  drawings  won  a leading  position  as  an  illustrator. 

His  edition  of  Holberg  s Comedies  makes  him  a formidable  rival  to  Menzel, 
and  to  Abbey.  That  he  has  founded  his  style  on  theirs  is  very  evident.  That  in 
certain  ways  he  has  branched  out  for  himself  is  equally  certain.  He  has  not  sought, 
as  so  many  do,  to  imitate  their  masters’  tricks  and  mannerisms,  but  he  has  used 
what  he  could,  yet  evolved  a style  of  his  own.  The  large  interior  full  of  figures  is 
very  reminiscent  of  Abbey,  but  it  is  drawn  with  a firmer  line  and  more  simply;  but 
I think  it  lacks  the  grace  which  the  American  would  have  put  in  it.  The  two  large 
heads  are  altogether  Tegner’s.  In  the  bedside  scene  and  in  the  party  crossing  the 


fields  one  feels  the  influence  of  Menzel,  but  it  is  felt  in  a right  sort  of  way.  The 
garden  is  all  his  own.  I have  included  a number  of  Tegner’s  drawings,  not  only 
because  he  is  absolutely  unknown  to  artists  in  England  and  America,  but  because 
the  Jubilee  edition  of  Holberg  s Comedies , for  which  these  drawings  were  made,  is 
not  very  accessible.  And  the  more  good  work  seen  the  better.  There  are  other 
phases  of  his  work  that  I possibly  should  have  shown,  but  Tegner  is  so  many- 
sided  a man — an  indispensable  quality  for  an  illustrator — that  I would  have  to 
include  almost  every  drawing  in  the  book;  and  this  edition  of  Holberg’s  is  well 


worth  possessing.  It  was  published  by  Bojesen  of  Copenhagen  and  later  an  English 
edition  was  brought  out  by  Heinemann  in  London.  Special  attention  should  be 
devoted  to  the  excellence  of  the  wood-engravings,  after  drawings  of  Tegner,  which 
are  by  F.  Hendriksen  and  A.  Bork. 


174  P.  DE  LOSSELIN  DE  LONG 


PEN  DRAWING 


THE  swing  and  go  of  this  man’s  work  are  remarkable;  and  it  is  very  interesting 
to  note  how  well  his  freely-put-down  lines  have  come  by  process,  and  printed 
on  the  steam  press.  This  is  a notable  example  of  good  reproduction  from  a per- 
fectly sketchy  design. 


OF  DUTCH  AND  DANISH  WORK  CARL  LARSON 


175 


THE  line  in  this  drawing  is  only  used  to  reinforce  the  color,  but  it  is  used 
with  the  greatest  thought  and  charm.  Larson  is  among  the  few  good  illus- 
trators of  children’s  books. 


176  JAN  A.  TOOROP 


PEN  DRAWING 


Herr  toorop  was  a Dutchman  born  in  Java,  hence  the  curious  Eastern 
feeling  in  his  work,  a note  which  is  quite  genuine.  He  was  another  of  the  Rose 
Croix  men;  and,  like  the  rest  of  them,  his  work  was  distinguished  by  beauty  of 
line  and  great  care  in  handling,  qualities  which  would  give  The  Three  Brides  dis- 
tinction and  make  the  work  remarkable  without  the  mysticism,  which  I do  not 
pretend  to  understand.  This  is  a very  good  example  of  the  reproduction  of  line  and 
wash  by  the  half-tone  process.  The  original  was  as  large  and  as  elaborate. 

THE  ILLUSTRATORS  OF  “UDE  OG  HJEMME” 

MOST  of  the  men  who  have  contributed  the  drawings  to  this  journal  are  un- 
known as  illustrators  outside  their  country,  though  several  of  them  are 
widely  known  as  painters.  The  paper  itself  is,  I fancy,  almost  unknown,  too. 

Ude  og  Hjemme  (Far  and  Near)  was  published  in  Copenhagen  by  F.  Hendrik- 
sen,  who  was  also,  I believe,  the  editor;  while  the  amazing  wood-engravings  with 
which  the  early  years  are  filled  are  almost  entirely  by  him.  Hendriksen  is  such  a 
great  wood-engraver,  that  were  it  not  for  the  fact  that  he  has  ceased  to  strive  to 
rival  process,  I should  be  tempted  to  withdraw  my  claims  for  mechanical  repro- 
duction, at  least  in  part;  but  as  Hendriksen  has  become  a process-engraver,  my 
statements  are  strengthened.  Never,  I think,  has  there  been  a wood-engraver  who, 


OF  DUTCH  AND  DANISH  WORK  1 77 

apparently,  so  reverently  and  faithfully  followed  the  lines  drawn  by  the  artist; 
never  certainly  has  there  been  a wood-engraver  who  has  given  the  quality,  the 


original  look  and  feeling  of  these  lines,  whether  pencil,  pen,  or  brush,  more  truly 
than  Hendriksen.  His  power  of  rendering  the  look  of  a medium  is  astounding. 
This  engraving  is  a proof  of  it. 

A.  Edelfelt’s  work,  especially  in  color,  is  well  enough  known,  and  he  has  con- 
tributed to  this  magazine.  Though  for  directness  it  is  surpassed  by  Frants  Henn- 
ingsen’s,  the  sentiment  of  which  is  overpowering,  and  the  pathos  heartbreaking 
but  genuine;  yet  I imagine  such  a real  work  of  art  would  not  find  a place  in  an 
English  or  American  magazine;  it  is  too  real,  too  well  done. 

Though  many  people  draw  animals,  comparatively  few  do  it  well  in  pen  and 
ink.  Madame  Ronner  and  Lambert  have  used  the  pen,  but  I certainly  do  not  care 
much  for  their  handling  of  line,  however  accurate  their  drawing  may  be;  therefore, 
it  is  a pleasure  to  find  some  one  who,  like  Hermansen,  can  do  it  well. 

In  landscape,  too,  much  good  work  has  been  accomplished,  and  one  recalls 


instantly  Fritz  Thaulow’s  successes  at  the  Salon  in  color.  T.  Petersen’s  pen  work 
is  excellent  if  it  does  recall  Abbey  and  Parsons. 

I am  not  certain  that  the  man’s  head  is  by  a Scandinavian.  I rather  think 
it  is  the  work  of  Liphardt,  who  drew  for  Vie  Moderne.  At  any  rate  I think  this 
drawing  was  once  published  in  that  paper.  But  I am  sure  it  is  a wonderful  example 
of  Hendriksen’s  skill  as  a wood-engraver. 


I have  no  doubt  there  are  many  other  illustrators  in  Denmark,  Holland,  Nor- 
way, and  Sweden,  but  I think  it  is  something  to  have  merely  touched  the  matter 
even  if  better  material,  which  I doubt,  exists. 


182  PAUL  KONEWKA  PEN  DRAWING 

CONSIDERING  that  Konewka  has  so  beautifully  shown  the  possibilities  of 
the  silhouette,  it  is  curious  that  he  has  not  had  an  army  of  imitators.  Still  it  is 
not  so  easy  as  it  looks  to  space  these  charming  arrangements  in  black — and  that 
probably  accounts  for  it. 

Konewka  has  illustrated  several  books  with  silhouettes,  notably,  Faust , Mid- 
summer Night's  Dream , and  the  Comedies  of  Shakespeare.  A certain  number  of 
people  now  make  silhouettes,  none  better  than  Konewka.  Arthur  Rackham  has 
most  effectively  used  the  silhouette  in  some  of  his  books. 


OF  PEN  DRAWING  IN  ENGLAND  CHAPTER  VI 

IN  all  the  countries  of  which  I have  spoken  the  introduction  of  photo- 
engraving proved  of  the  greatest  advantage  to  the  artist.  It  enabled  him  to 
work  without  considering  a wood-engraver,  who  had  to  cut  with  the  utmost 
difficulty  work  which  the  artist  did  with  the  greatest  freedom  and  in  as 
many  minutes  as  the  engraver  took  hours  or  days  to  reproduce.  But  the  pen 
drawings  made  by  a brilliant  band  of  young  men  for  Once  a Week , The  Cornhill , 
Good  Words , The  Sunday  Magazine , and  others — between  1859  and  1869,  de- 
generating towards  1879,  when  they  ceased — and  for  many  books,  among  them  the 
illustrated  editions  of  Tennyson  s Poems , The  Arabian  Nights , Dalziel’s  Bible , were 
the  most  important  done  in  England.  Nearly  all,  however,  were  drawn  on  the 
block,  and  cut  to  pieces.  That  the  wood-engravers  of  Once  a Week  looked  forward 
to  the  introduction  of  photo-engraving,  and  endeavored  to  foster  it,  is  shown  by 
the  examples  of  mechanical  processes  which  they  published  in  their  journal. 

But  in  England,  until  French  and  American  magazines  proved  the  artistic 
value,  and  not  merely  the  pecuniary  saving,  of  process-reproduction,  compara- 
tively little  attention  was  paid  to  it  by  draughtsmen,  for  the  British  artist  then  was 
as  ignorant  and  conservative  as  the  American  is  now.  American  artists,  engravers 
and  publishers  took  up  process  seriously  long  before  the  British,  but  few  pub- 
lishers discovered  anything  beyond  the  cheapness  of  the  invention;  there  have 
been  notable  exceptions  in  England.  The  Portfolio  always,  more  or  less,  for  its 
small  blocks  used  process  reproduction — usually  pen  drawing.  The  Magazine  -of 
Art  also.  But  most  of  the  English  reproductions  were  of  inferior  quality.  Those 
of  any  distinction  were  the  work  of  Chefdeville  or  Ives,  a Frenchman  and  an  Amer- 
ican. These  magazines  are  dead,  killed  by  the  non-payment  rags  that  have  suc- 
ceeded them.  Emery  Walker  now  does  excellent  work.  The  aim  of  the  photo-en- 
graver was  cheapness  rather  than  excellence,  just  as  it  is  here  today,  for  we  have 
imitated  and  stolen  every  bad  quality  of  the  British;  and  artists  could  feel  little 
satisfaction  in  drawings  reproduced  in  this  commercial,  artless  fashion.  Punch 
preferred  for  long  wood-engravings,  by  which  much  was  cut  out  of  the  drawings, 
to  process  blocks,  which  ruined  them  altogether.  But  during  the  eighties  several 
good  reproductive  processes  were  developed  in  England.  Till  lately  pen  drawing 
was  thought  of  no  account  except  for  a sketch.  If  anything  had  to  be  done  in  a 
hurry, “Oh,  make  a pen  sketch,”  was  suggested;  that  the  artist  can’t  sketch  and  the 
publisher  can’t  understand  does  not  matter.  Naturally  this  did  not  advance  the 
art  in  England.  Though  a healthy  revival  is  beginning  among  the  younger  men 
headed  by  E.  J.  Sullivan,  yet  there  are  probably  still  many  English  artists  who 
agree  with  Hamerton  in  his  belief  that  “one  very  great  educational  advantage  of 
the  photographic  process  is  that  the  public,  which  formerly  looked  upon  real 
sketches  with  indifference  or  contempt,  as  ill-drawn  or  unfinished  things  unworthy 
of  its  attention,  is  now  much  better  able  to  understand  the  shorthand  of  drawing, 
and  consequently  is  better  prepared  to  set  a just  value  on  the  pen  sketches  of  the 
great  masters.”  A proof  of  this  is  that  Societies  like  the  Diirer  and  Vasari  are 


184  PEN  DRAWING 

formed  to  reproduce  old  masters’  drawings  and  they  do  it  very  well.  When  will 
there  be  a society  to  reproduce  modern  illustrations?  But  it  would  be  no  great 
comfort  or  satisfaction  to  men  who  have  spent  their  lives  making  pen  drawings 
that  they  have  no  other  merit  than  that  of  helping  the  lazy  public  to  appreciate 
work,  not  so  well  done  technically  by  artists  four  or  five  hundred  years  ago — 
that  pen  drawings,  real  modern  masterpieces,  are  only  helps  to  the  understanding 
of  the  sketches  of  old  masters.  Yet  this  publication  of  sketches  has  had  disas- 
trous results,  for  the  most  artless  and  trivial  things  are  printed  with  this  excuse 
— that  they  are  sketches,  often  so  bad  that  one  wonders  what  the  editors  are  like 
who  accept  them,  still  more  what  the  public  is  like  that  pays  for  them,  to  say 
nothing  of  the  people  who  make  them.  But  the  success  of  certain  papers  and 
magazines  today,  papers  which  publish  good  and  bad  work  with  equal  impar- 
tiality, is  a proof  that  the  public  is  quite,  as  is  only  natural,  unable  to  dis- 
tinguish between  good  and  evil,  despite  the  tree  of  knowledge. 

The  least  known,  but  perhaps  the  best  pen  draughtsman  in  Scotland  for  a 
student  to  follow,  was  Sir  George  Reid  of  Edinburgh.  He  could,  in  a pen  drawing, 
give  the  character  of  northern  landscape,  so  different  in  every  way  from  that  of  the 
country  of  the  great  southern  pen  draughtsmen,  while  his  portraits  contained  all 
the  subtlety  and  refinement  of  a most  elaborate  etching  by  Rajon;  he  thought 
Rajon  and  Amand-Durand  the  only  men  who  could  interpret  him.  He  had  in  the 
beginning  a great  influence — and  the  best  influence  of  his  life — on  D.  Y.  Cameron, 
whose  early  etchings  were  quite  like  Reid’s  drawings,  and  he  was  an  inspiration 
to  Muirhead  Bone  and  many  other  Scotchmen,  though  would  they  admit  it? 

An  artist  who  easily  stood  at  the  head  of  his  profession,  as  a landscape  pen 
draughtsman,  in  England,  was  Alfred  Parsons.  Though  he  was  imitated  even  to 
his  signature,  there  is  no  one  in  England  who  can  be  named  with  him.  Alas,  he 
too  like  Abbey  took  to  paint,  joined  the  Academy  and  died  as  an  artist  long 
before  he  ceased  to  live  as  a man. 

Among  the  few  breaks  in  the  monotony  of  the  long  years  of  Blackburn’s 
Illustrated  Exhibition  Catalogues  are  the  drawings  by  E.  J.  Gregory,  one  or  two 
by  Boughton,  Colin  Hunter,  Herkomer,  Charles  Green,  Sir  J.  D.  Linton,  Cecil 
Lawson,  and  some  strong  heads  by  Frank  Holl.  But  the  only  drawings  which 
really  merit  mention  as  works  of  art  are  by  T.  Blake  Wirgman.  He  has  really 
cared  and  the  result  is  his  drawings  stand  out  far  the  best  in  Blackburn’s  cata- 
logues. Whistler  did  some  drawings  for  them. 

Hubert  Herkomer  was  one  of  the  very  few  men  who  have  ever  illustrated  their 
catalogues  with  drawings  which  have  a value  of  their  own.  I place  Herkomer 
among  the  British,  though  he  was  a man  without  a country  or  kept  changing  his 
nationality,  and  he  luckily  died  before  the  war,  when  he  would  have  to  have 
found  one.  His  sketches  of  heads  are  strongly  and  simply  put  in,  while  his  studies 
in  the  Bavarian  Highlands,  though  greatly  elaborated,  are  very  successful.  He 
later  killed  himself  artistically  by  palming  off  in  a play  called  An  Idyl  pen  draw- 


OF  PEN  DRAWING  IN  ENGLAND  185 

ings  reproduced  by  photogravure,  as  etchings.  But  he  was  a clever  pen  draughts- 
man as  he  was  a clever  advertiser,  mountebank,  painter  and  sculptor — but  far 
from  a genius. 

Some  of  W.  L.  Wyllie’s  drawings,  notably  those  of  the  Toil,  Glitter  and  Grime 
of  the  Thames,  published  in  the  Magazine  of  Art , are  models  for  the  drawing  of 
boats  and  the  suggestion  of  light  and  the  movement  of  water.  If  Whistler  only  had 
given  us  more  pen  drawings  like  his  etchings,  he  would  show  himself  to  be  as  a pen 
draughtsman  what  he  was  as  an  etcher — the  greatest  who  ever  lived.  A process 
block  from  one  of  his  series  of  Thames  Etchings  would  be  a perfect  study  for  a 
pen  drawing — this  I proved  in  the  London  Daily  Chronicle — while  his  use  of  the 
brush  in  line  in  his  Catalogue  of  a Collection  of  Blue  and  White  China  is  perfect. 

Walter  Crane’s  decorative  drawing,  his  book  covers,  his  designs,  his  initials, 
his  head  and  tail  pieces,  in  pen  and  ink,  entitle  him  to  be  ranked  as  the  first 
English  decorative  draughtsman,  while  some  of  Selwyn  Image’s  work  is  quite 
as  interesting;  so  are  Morris’  initials  and  borders.  A whole  army  of  younger 
decorative  men  and  women  have  appeared,  but  Crane,  Image  and  Morris  are  the 
recreators  of  British  decorative  drawing,  and  this  is  acknowledged  in  a land 
where  every  great  man  is  not  jostled  and  nagged  by  every  interloping  whipper- 
snapper  imitator. 

Although  Du  Maurier  was  the  best  known  of  the  so-called  comic  draughts- 
men, his  fame  rests  rather  on  his  wit  and  humor  and  satire  than  in  the  technical 
excellence  of  his  drawing.  He  called  himself  a pictorial  satirist  but  this  scarce 
describes  him.  He  should  have  said  society  artist.  His  drawings  are  a sort  of 
sermon  which  happens  to  be  drawn,  instead  of  written  with  a pen,  and  the 
legend  is  usually  the  best  part  of  it.  Everyone,  however,  should  study  his  work  in 
Once  a Week  and  Bunch  of  sixty  years  ago.  I can  understand  the  enthusiasm 
with  which  it  was  greeted  by  the  artists  of  that  generation. 

Harry  Furniss  is  a clever  and  popular  man.  Linley  Sambourne’s  drawings 
also  are  intensely  clever,  but  so  near  being  mechanical  that  it  would  be  impossible 
for  any  one  to  study  from  them  without  becoming  wholly  so.  Clever  is  the  word 
for  such  people,  and  they  are  even  more  cleverly  imitated. 

Charles  Keene’s  work  in  Punch  was  unfortunately  nearly  always  engraved 
on  wood  and,  before  I had  seen  his  drawings,  had  he  not  written  and  told  me 
that  most  of  them  were  made  with  a pen,  I never  should  have  imagined  it.  The 
originals  were  the  best  character  studies  ever  made  in  England.  It  is  to  be 
regretted  that  so  much  was  lost  in  the  engraving.  Therefore,  excellent  as  are 
Keene’s  drawings,  it  is  useless  for  the  student  to  study  the  reproductions  in  Punchy 
which  give  no  true  idea  of  the  original  work.  But  the  originals  are  equal  to  Ho- 
garth— “the  greatest  British  artist  since  Hogarth,”  was  what  Whistler  called  him. 

The  man  who  won  for  himself  the  foremost  position  in  British  illustration 
was  Phil  May,  who  quietly  produced  work  which  made  him  famous  all  over  the 
world. 


186 


PEN  DRAWING 

Cruikshank,  Leech,  and  Phiz  are  responsible  for  the  style,  or  rather  want  of 
style,  of  too  many  English  draughtsmen.  Their  contortions,  distortions  and  abomi- 
nations are  so  beloved  by  the  American  book  collector  that  every  print  is  pre- 
served, while  whole  regiments  of  copyists  must  be  employed  to  turn  out  faked 
drawings  and  prints  now  that  the  genuine  absurdities  have  been  exhausted  two 
or  three  times  over.  They  had  great  industry  but  little  ability,  most  of  their 
followers  have  nothing  but  their  weaknesses  and  imperfections  of  technique.  The 
latter  forget  that  the  drawings  of  the  artists  they  imitate  were  rarely  done  with  the 
pen,  and  that  if  they  were,  it  was  only  to  be  reproduced  by  engraving  or  etching 
on  wood  or  steel,  mostly  by  other  men,  and  hence  chat  the  qualities  of  the  pen 
work  were  cut  or  engraved  out. 

There  have  always  been,  however,  artists  in  England  who  have  rushed  to  issue 
their  own  organs — from  the  time  of  The  Germ . And  in  the  eighties  and  nineties 
there  were  many:  The  Yellow  Book  and  The  Savoy , the  serious  playground  of 
Beardsley  and  the  rest  of  us;  The  Dial,  the  mouthpiece  of  Ricketts  and  Shannon; 
The  Hobby  Horse , run  by  the  Century  Guild  of  artists,  Macmurdo,  Image,  Horne; 
and  then  there  were  organs  of  the  Birmingham  and  other  schools,  and  the  brilliant 
appearing  and  disappearing  Butterfly , and  just  before  the  war  came  Blast , a poor, 
pathetic,  choleric  squib — and  Form , a dignified  magazine — for  Sullivan,  Spare 
and  Cole;  and  there  are  endless  others,  and  the  same  sort  of  art  propaganda 
is  preached  all  over  the  world — save  here,  where  European  designs  are  pitifully 
and  pathetically  cribbed  from  by  incompetents  and  decadents. 

Randolph  Caldecott  shows  much  technically  to  study.  When  a man  has  the 
genius  to  make  in  half  a dozen  lines  a drawing  like  The  Mad  Dog  or  The  Cat 
Waiting  for  a Mouse,  he  would  be  another  Randolph  Caldecott,  a great  artist. 
Caldecott  had  genius.  One  can  pardon  his  faults  and  ask  for  more  of  his  delight- 
ful work  not  only  because  of  his  humor  but  because  of  its  merit.  Yet  it  is  just 
this  pardoning  that  has  such  a bad  influence  on  art,  and  has  made  men  who 
really  technically  never  studied  their  profession  its  leaders.  The  trouble  is  that 
because  artists  have  good  ideas,  the  fact  that  they  cannot  express  them  technically 
is  overlooked.  No  ideas  can  be  expressed  artistically  without  technique,  which 
is  nothing  more  than  the  grammar  of  art. 

Hugh  Thomson  drew  figure  subjects  most  acceptably  to  collectors;  Herbert 
Railton  drew  architecture  to  please  the  public;  and  they  are  men  who  devoted 
themselves  to  pen  drawing.  But  one  cannot  help  being  conscious  that  it  is  the 
demand  for  draughtsmen,  rather  than  the  real  feeling  for  line,  which  made  them 
pen  draughtsmen. 

Finally,  in  summing  up,  I think  that  the  examples  in  this  book  will  show  most 
conclusively  that,  with  the  exception  of  Charles  Keene,  Parsons,  Reid,  Phil  May, 
Beardsley,  E.  J.  Sullivan,  Rackham,  Anning  Bell,  and  Griggs,  the  artists  of  the 
Continent  and  of  America  have  paid  more  attention  to,  and  have  been  more 
successful  in,  pen  drawing  for  process-reproduction  than  artists  in  England. 


OF  PEN  DRAWING  IN  ENGLAND  IN  THE  PAST 


187 


D.  G.  Rossetti.  The  Palace  of  Art,  Engraved  by 
Dalziels.  From  Moxon’s  Tennyson,  1857 

FOR  the  publication  of  pen  drawings  made  some  fifty  or  sixty  years  ago 
I feel  that  no  explanation  is  needed  if  they  still  live.  While  pen  drawing, 
owing  to  photography,  has  advanced  in  all  other  countries,  there  is  no 
doubt  that  in  England  its  most  interesting  period  was  just  before  photo- 
graphic reproduction  was  invented.  This  was  the  outcome  really  of  the  genius  of 
Bewick.  To  Bewick,  therefore,  is  primarily  due  the  great  advancement  in  the 
graphic  arts  accomplished  in  the  nineteenth  century;  he  was  the  first  of  modern 
illustrators.  And  also  to  Blake  is  much  honor  due;  his  head  and  tail  pieces,  rising 
angels,  falling  demons,  done  with  a single  brush  stroke,  are  amazing  and  have  never 
been  surpassed,  for  the  modern  mystic  is  usually  devoid  of  Blake’s  training, 
expression,  ability  to  draw  what  he  said  he  saw.  The  Englishmen  who  illustrated 
Once  a Week,  The  Cornhill , Good  Words , The  Sunday  and  Shilling  Magazines,  and 
the  early  numbers  of  the  Graphic  and  Punch,  have  had,  even  in  our  days  of 
development  both  in  wood-engraving  and  in  process,  few  worthy  successors.  So 
I am  obliged  to  publish  drawings  by  these  contributors  or  else  ignore  the  best 
period  of  English  work. 

In  some  cases  the  original  drawings  were  preserved  or  photographed  through 
the  interest  the  engravers  took  in  their  work,  and  also  because,  realizing  the  un- 
certainties of  wood-engraving,  they  feared  the  drawings  might  be  spoiled.  The  case 
of  DalzieF s Bible  is  different.  Dalziels  commissioned  rising  young  artists  to  pro- 
duce a series  of  drawings  for  the  Bible.  But  the  work  turned  in  was  difficult  to 
engrave.  Cassells  about  the  same  time  brought  out  their  Dore  Bible;  his  drawings, 


188  PEN  DRAWING 

I believe,  were  in  wash,  and  it  was  almost  impossible  for  any  one  to  rival  Dore’s 
popularity  and  productiveness.  Dalziels,  looking  ahead  and  seeing  that  photog- 
raphy would  be  used  to  transfer  drawings  to  the  block  for  engraving,  put  the 
work  aside  for  twenty  years,  and  their  Bible  Gallery  did  not  appear  until  1880, 
when  the  drawings  were  photographed  on  to  the  block  and  engraved,  the  original 
work  thus  remaining  untouched.  And  I have  the  admission  from  the  Dalziels  that 
they  consider  the  process  reproductions  in  this  volume  from  these  drawings  much 
more  satisfactory  than  their  own  wood-engravings.  This  in  connection  with  the 
fact  that  Mr.  W.  J.  Linton  devoted  the  ripest  years  of  his  life  to  reproducing  his 
Masterpieces  of  W ood  Engraving , not  by  new  wood-engravings,  but  by  process 
blocks  and  plates,  is  the  strongest  proof  that  I,  at  any  rate,  desire;  not  that  fac- 
simile wood-engraving  is  a failure,  but  that  it  is  a waste  of  time  and  labor, 
provided  the  drawing  is  made  with  as  much  attention  to  the  requirements 
of  processes  as  the  old  men  devoted  to  the  requirements  of  wood-cutting. 
Mr.  Marcus  Stone  tells  me  that  he  believes  his  illustrations  to  He  Knew  He  Was 
Right , by  Trollope,  made  in  1868  and  1869,  were  the  first  pen  drawings  reproduced 
in  England,  all  of  which  were  drawn  on  paper  and  transferred  to  the  block  by 
photography. 

With  the  Pre-Raphaelites  a dignity  was  given  to  the  art  of  pen  drawing  which 
it  had  not  possessed  before,  and  is  not  half  appreciated  yet.  In  this  illustration  the 
leaders  were  Sandys  and  Rossetti,  though  to  Ford  Madox  Brown  is  generally 
awarded  the  credit  of  being  the  originator  of  British  modern  illustration. 

This  design  by  him  for  Dalziel's  Bible  is  carried  out  with  the  reverence  for 
line  which  is  so  characteristic,  not  of  the  men  before  Raphael’s  time,  but  of  the 
Germans  of  Diirer’s  age,  though  without  slavish  imitation  of  any  one.  Not  only  is 
every  detail,  save  the  very  funny  chicken  in  the  foreground,  well  drawn,  but  the 
feeling  for  the  various  surfaces  and  the  texture  of  the  garments  is  well  given. 
Contrast  the  heavy  robe  of  the  prophet  with  the  lighter  stuff  of  the  widow’s  cloak 
and  the  grave-clothes  of  the  boy;  note  the  difference,  although  the  tone  is  very 
nearly  the  same,  between  the  prophet’s  garments  and  the  widow’s  gown,  and  the 
difference  of  handling  in  each,  and  each  is  worked  out  with  a feeling  not  only  for 
light  and  shade,  but  for  line.  One  can  see  that  Madox  Brown  took  the  greatest 
interest  in  making  this  drawing,  in  rendering  a subject  of  the  past  with  the 
technical  knowledge  of  the  present — the  true  and  right  spirit  in  which  all  art 
work  should  be  done. 

Though  I should  prefer  the  sureness  of  a man  like  Fabres,  a sureness  which 
is  amazing  and  in  a southern  subject  which  I should  unquestionably  follow, 
to  the  student  I would  recommend  Madox  Brown’s  drawing  quite  as  highly 
as  the  one  by  Fabres.  However,  the  effects  of  light  in  the  east  have  not  been 
rendered  by  Madox  Brown  so  truly  as  by  Fabres.  But  Fabres  worked  from  nature, 
Madox  Brown  in  the  studio.  Yet  the  delicate  suggestion  of  bits  of  light  telling 
against  the  dark  on  the  steps,  the  wooden  stand  relieved  against  the  stairs, 


From  original  drawing  for  Dalziel’s  Bible.  F.  Sandys 


From  original  drawing  for  DalziePs  Bible.  Sir  E.  Burne  Jones 


OF  PEN  DRAWING  IN  ENGLAND  193 

the  relief  of  the  heads  against  the  white  wall  and  the  way  in  which  the  shadow  of 
the  little  bird  flying  to  its  brick  nest  is  studied,  make  the  drawing  equal  to  the 
work  of  Rico  or  any  of  the  Spaniards  and  Italians;  though  it  is  not  so  realistic,  it  is 
carried  out  far  more  completely  than  any  of  their  drawings,  and  in  it  the  peculiarly 
English  idea  of  telling  a story  is  expressed  in  the  British  fashion.  Notice  how 
the  light  from  the  lamp  in  the  little  upper  chamber  is  carried  down  the  light 
side  of  the  post  to  which  the  rope  that  serves  as  banister  is  attached,  down  the 
rope  itself,  on  by  the  widow’s  gown  into  the  most  carefully  studied  interior  of  the 
living  room.  The  contrast  between  the  delicate  face  of  the  child,  the  severe  head 
of  the  prophet,  and  the  agonized  expression  of  the  widow  is  completely  rendered. 
The  subject  could  not  be  treated  in  a more  satisfactory  manner  in  any  other 
medium.  There  are  certain  details  of  line  which  will  not  reproduce,  but  I believe 
Madox  Brown  would  have  changed  them  had  he  known  what  was  wanted. 

By  publishing  these  illustrations  from  Dalziel’s  Bible  I hope  I may  show 
not  only  my  appreciation  of  them,  but  that  the  methods  of  forty  years  ago  are 
adapted  to  the  requirements  of  today,  only  we  want  the  artists  now  to  make  the 
drawings — we  have  the  machinery  to  engrave  and  print  them. 

It  is  said  that  it  was  not  Frederick  Sandys  who  revived  illustration  in  the 
manner  of  the  Germans  of  the  fifteenth  and  sixteenth  centuries,  but  that  this 
revival  was  due  to  the  Pre-Raphaelites,  but  all  of  them  were  influenced  by  Menzel 
and  Meissonier.  As  a matter  of  fact  it  all  came  from  Germany  from  Rethel’s 
designs  of  a decorative  sort — Death  the  Friend,  Death  the  Avenger,  and  from 
Menzel’s  illustrations  to  The  Life  of  Frederick  the  Great , which  these  illustrators 
knew,  though  Sandys,  however,  to  me  denied  that  he  knew  anything  about 
Menzel.  There  is  no  doubt  that  Sandys  surpasses  in  technique  all  the  artists  of 
the  best  period  of  English  draughtsmanship.  His  designs  possessed  the  same 
elevation  of  ideas  which  was  so  markedly  the  characteristic  of  the  Germans,  and 
was  the  outcome  of  the  spirit  of  their  age.  But  there  is  no  question  that 
technically  many  parts  of  this  drawing  Amor  Mundi  are  quite  equal  to  Diirer’s 
work;  while  others  are  expressed  in  a manner  absolutely  unknown  to  Diirer. 
There  is  a feeling  of  color  throughout  which  Diirer  never  attempted  on  the 
wood,  because  he  knew  it  could  not  be  retained  in  the  cutting. 

The  process  reproduction  of  the  wood  block  Amor  Mundi  shows  the  drawing 
in  the  manner  in  which  Sandys  and  Swain  wished  it  to  appear;  the  reproduction 
shows  it  exactly  as  it  was  drawn  on  the  block,  the  photogravure  gives  it  abso- 
lutely. No  one  has  ever  drawn  better  for  process  than  Sandys.  It  is  reproduced 
autographically  with  infinitely  less  labor,  and  gives  Sandys’  actual  lines  without 
the  intervention  of  another  hand. 

When  I said  in  the  Introduction  that  I wished  Rossetti  had  not  elaborated 
with  pen  or  pencil  his  drawings,  I referred  to  the  drawings  from  his  paintings 
which  have  been  photographed  and  published,  for  technically  these  do  not  com- 
pare for  a minute  with  his  illustrations  of  Tennyson,  particularly  those  in  the 


Studies  for  Amor  Mundi.  The  completed  design  is  on  the  opposite  page 


Photograph  of  original  drawing.  F.  Sandys 


196  PEN  DRAWING 

Palace  of  Art , drawn  on  the  block  and  cut  to  pieces.  Nor  would  it  be  fair  to  show 
as  an  example  of  his  work  the  illustrations  in  the  Prince's  Progress  and  the  frontis- 


“Samson.”  From  Dalziel’s  Bible.  Lord  Leighton 

piece  to  the  Early  Italian  Poets , which  give  no  idea  of  their  refinement.  The  only- 
drawing  I know  of  which  may  have  been  made  for  engraving  is  the  portrait  of  his 
wife,  which  was  never  cut,  and  can  be  seen  at  the  Victoria  and  Albert  Museum, 
and  this  monument  of  his  art  has  here  been  reproduced  truly  and  well  for  the  first 
time.  He  can  hardly  be  considered  an  illustrator,  though  he  did  make  so  marvel- 
ous a success  in  the  Tennyson.  But  even  in  that  there  is  but  one  drawing — the 
first  illustration  to  the  Palace  of  Art  engraved  by  Messrs.  Dalziel — really  worthy 


OF  PEN  DRAWING  IN  ENGLAND  197 

of  the  extravagant  praise  lavished  upon  it.  It  would  be  the  greatest  waste  of  time 
to  draw  in  such  a manner  and  on  such  a scale  in  these  days  of  process.  That 


From  Dalziel’s  Bible.  A.  Boyd  Houghton 

Rossetti  and  Dalziel  did  produce  their  result  calls  for  all  praise;  a repetition  of  it 
would  be  laborious  and  misplaced  affectation.  Still  Rossetti  was  not  a trained 
craftsman  like  Sandys,  or  there  would  have  been  more  and  better  illustrations  from 
him. 

Sir  E.  Burne  Jones  was  good  enough  to  lend  me  an  original  unpublished 
drawing  in  somewhat  the  style  of  Rossetti,  and  it  has  been  excellently  reproduced 
by  the  Swan  Engraving  Company. 


198 


PEN  DRAWING 

The  work  of  other  men  in  the  pages  of  the  magazines  I have  referred  to  was 
engraved  by  Swain  and  Dalziel,  I doubt  not  with  the  greatest  fidelity  possible, 
but  the  actual  quality  of  the  line,  that  is  the  quality  given  by  pencil,  brush,  or  pen, 
is  in  nearly  every  case  lost.  Therefore,  though  these  magazines  and  The  Cornhill 
and  Good  Words  Galleries  of  proofs  should  be  seen  and  known  by  all  students, 
it  is  useless  to  publish  any  of  the  blocks  as  examples  of  pen  drawing.  But  as  engrav- 
ings, the  series  of  Parables  by  Sir  J.  E.  Millais,  notably  the  Good  Samaritan, 
published  in  Good  Words , April  1863,  and  the  Lost  Piece  of  Silver,  in  September  of 
the  same  year,  are  enough  to  make  any  man’s  reputation.  They  rank  with  Diirer. 
I have  been  fortunate  in  obtaining  an  original  unpublished  drawing  by  Millais — 
his  study  for  the  Ophelia.  One  of  these  men  who,  to  my  mind,  is  much  less  well 
known  than  he  deserves  to  be,  is  J.  Mahoney,  whose  drawings  in  the  Sunday 
Magazine  are,  even  as  wood-engravings,  equal  to  anything  done  in  England;  the 
engravings  by  Whymper  from  Mahoney’s  drawings  in  Scrambles  Amongst  the  Alps 
should  also  be  seen. 

Fred  Walker  is  considered  to  be  one  of  the  greatest  of  English  illustrators. 
His  subjects  were  interesting,  his  sentiment  popular,  and  his  drawing  graceful. 
But  as  he  worked  before  process,  he  was  limited  in  using  the  pen.  For  this  very 
reason  the  results  he  did  obtain  are  surprising.  The  sentiment  in  his  work  is 
very  charming,  but  in  this  drawing,  as  in  so  many  others,  it  is  neither  true  nor 
real.  The  color  and  line  and  composition  are  most  admirable. 

The  English  engravers  of  Fred  Walker’s  time  seem  to  have  endeavored  to 
compel  him  and  Pinwell  and  Keene  and  Du  Maurier,  even  when  they  were  at  the 
height  of  their  success,  to  draw  lines  which  they  could  cut  in  the  easiest  manner. 
The  consequence  is  that  it  is  impossible  to  tell  whether  many  of  the  drawings 
were  done  with  a pen,  a pencil,  or  a brush.  I know  it  will  be  said  that  most  of 
them  were  not  done  with  a pen  but  with  a brush,  that  is  with  the  sensitive  point 
of  a very  fine  brush  such  as  the  Japanese  use.  They  were  also  worked  on  with  a 
lead  pencil,  pen  and  wash,  but  in  the  engraved  result,  in  the  majority  of  cases, 
you  cannot  tell  which  line  was  made  with  a pen,  which  with  a brush,  which  with  a 
pencil;  and  I say  that  such  a subjection  of  the  artist  to  the  engraver  is  utterly 
wrong.  It  is  not  that  the  wood-engraver  could  not  cut  almost  every  line  that  Fred 
Walker  ever  drew,  but  the  fact  is  that  he  did  not  engrave  it  so  as  to  show  the 
actual  means  used  to  produce  it.  Wood-engraving  can  do  almost  everything,  and 
even  this  drawing  of  Fred  Walker’s  could  be  engraved  on  wood,  and  American 
reproductive  wood-engravers  did  this — but  process  did  it  even  better  and  certainly 
cheaper,  and  reproductive  engraving  disappeared.  This  is  one  of  the  cases  where 
science  has  rightly  come  to  the  aid  of  art.  It  is  all  very  well  for  certain  artists,  who 
are  not  illustrators,  to  say  that  another  man  can  render  your  work  better  than  a 
machine;  in  a line  drawing,  in  which  you  do  not  want  any  one’s  ideas  or  feelings 
but  your  own,  no  man  can  equal,  though  he  may  very  materially  aid,  an  accurate 
machine  in  reproduction. 


Portrait  of  Miss  Siddal.  D.  G.  Rossetti 


201 


OF  PEN  DRAWING  IN  ENGLAND 

Though  the  idea,  the  composition,  and  the  lines  in  the  drawings  of  the  men 
of  Fred  Walker’s  day  are  most  charming,  and  though  the  artists  considered  the 
engravings  on  the  wood  admirable,  any  one  who  will  take  the  trouble  to  compare 
these  engravings  with  the  facsimile  engravings  after  Menzel,  or  with  the  work  of 
some  of  the  American  engravers  like  Whitney  and  Cole,  or  Frenchmen  like  Baude 
and  Florian,  or  Englishmen  like  Paterson,  will  see  they  are  not  admirable  at  all, 


but  give,  instead  of  the  actual  quality  of  the  artist’s  line,  that  which  it  was  easiest 
to  reproduce.  The  engravers  may  deny  this,  but  the  comparison  I suggest  will 
prove  at  once  the  truth  of  what  I say.  Though  no  one  can  think  more  highly  than 
I do  of  the  endless  number  of  varied  effects  which  Fred  Walker  obtained,  I cannot 
help  feeling  today  that  many  of  these  are  utterly  unsuited  to  pen  work,  that  they 
could  have  been  gotten  with  far  more  ease  with  a brush,  and  that  the  reason  Fred 
Walker  drew  with  a pen  was  not  from  any  particular  love  of  line  but  to  make  for 
the  engraver  lines  he  could  follow.  One  method  some  of  his  fellow-draughtsmen 
very  frequently  used  was  to  make  the  foreground,  or  the  part  they  wished  ac- 
centuated, with  a pen  or  brush  in  line  which  the  engraver  followed,  while  the 
background,  in  which  of  course  they  only  wanted  flat  tints,  was  done  with  wash 
which  the  engraver  could  cut  as  he  chose,  often  turning  washes  into  line,  or  chang- 
ing the  direction  of  lines.  The  advantage  of  working  in  this  way  was  that,  if  the 
artist  made  a mistake  on  the  wood,  he  simply  went  over  it  with  wash  on  which  he 
worked  with  Chinese  white,  and  the  engraver  made  what  he  wished  out  of  it.  A 
good  example  of  this  manner  of  working  can  be  seen  by  looking  over  the  early 
years  of  the  Graphic. 


Drawing  on  wood.  Fred  Walker 


Drawing  on  paper.  G.  J.  Pinwell 


Drawings  by  A.  B.  Houghton  and  Charles  Green 


“St.  Simeon  Stylites.”  W.  Burges 


208 


PEN  DRAWING 

There  is  another  matter  to  which  attention  can  be  most  easily  called  here. 
In  studying  the  handling  in  the  clothes  of  the  figures  in  almost  all  of  these  draw- 
ings you  find  that  exactly  the  same  line  is  used  by  all,  and  that  this  same  line 
appears  in  Du  Maurier’s  drawings  today.  Either  these  men  became  mannered  in 
a short  time,  or  the  engravers  compelled  them  to  draw  in  this  abominable,  me- 
chanical, cross-hatched  manner.  Birket  Foster  told  me  that  frequently  the  lines 
were  the  engraver’s  and  not  the  artist’s  at  all:  that  many  of  his  simple  wash 
drawings  came  out  as  near  like  elaborate  steel  plates  as  the  engraver  could  make 
them  on  the  wood.  This  same  touch  can  be  found  in  Durer’s  draperies  and  that  of 
other  of  the  old  men,  but  Mr.  W.  H.  Hooper  gave  me  the  real  explanation:  One 
man  cut  clothes,  another  grass,  another  figures,  and  another  clouds— he  did 
faces — -the  box  wood  blocks  were  taken  to  pieces  and  engraved  by  the  different 
specialists;  then  they  were  screwed  up  again,  and  the  boss  joined  up  the  en- 
graved pieces.  That  method  explains  many  things.  But  it  is  not  a fine  quality  in 
the  engraving.  It  is  the  expression  of  a mechanical  difficulty  which  they  could 
not  surmount  and  which  it  is  foolish  to  follow,  imitate,  or  commend  today.  And 
so  also  the  growth  of  cross-hatch  work,  twenty  or  thirty  years  ago,  which  has  been 
mistaken  to  be  a good  style,  was  not  the  fault  of  the  draughtsmen  but  of  the 
wood-engravers.  And  the  reason  for  the  position  which  Fred  Walker  holds  among 
these  men  is,  not  so  much  because  his  drawings  were  better  than  theirs,  but  be- 
cause he  was  more  independent  and  refused  to  draw  in  this  mechanical  manner, 
although  even  in  his  work  you  sometimes  see  it  cropping  up  wherever  the 
engraver  could  put  it.  It  is  really  the  independence  of  his  work  and  not  the 
excellence  of  the  style  which  has  given  Fred  Walker  the  place  he  holds — -and  this 
is  the  surest  proof  that  if  one  wants  to  succeed  in  illustration,  one  has  simply 
got  to  do  something  for  one’s  self,  though  that  is  the  surest  way  to  come  to  grief 
today. 

It  may  surprise  some  to  find  Ford  Feighton  among  pen  draughtsmen,  and  I 
shall  be  told  that  this  is  not  a pen  but  a brush  drawing.  But  when  a man  makes  a 
drawing  as  notable — technically  so  remarkable — conveying  such  an  idea  of 
strength  and  power,  and  showing  conclusively  what  may  be  done  with  a brush 
used  as  a pen,  it  ought  to  be  known.  His  drawings  for  Dalziel's  Bible  and 
George  Eliot’s  Romola  are  his  best  work. 

Dickens  was  a magnificent  field  for  Charles  Green  and  others,  while 
that  original  genius,  A.  B.  Houghton,  stands  quite  alone.  In  his  rendering 
of  the  life  about  him,  he  is  only  equaled  by  his  own  illustrations  to  the  Arabian 
Nights. 

Sir  E.  J.  Poynter’s  drawing  of  Daniel’s  Prayer  was  made  for  Dalziel's  Bible. 
It  differs  from  Leighton’s  and  that  by  Ford  Madox  Brown  in  being  carried  out  in 
the  most  complete  manner  all  over,  and  it  looks  like  a clean  wiped  print  from  an 
etched  plate.  Had  I made  a photogravure  from  it  and  printed  that  with  retroussage 
no  one  could  have  told  it  from  an  etching.  The  drawing  of  Daniel  and  the  figure 


OF  PEN  DRAWING  IN  ENGLAND  209 

in  the  background  are  excellent,  and  the  way  in  which  the  detail  has  been  all 
worked  out  is  remarkable.  The  result  is  good;  it  is  indeed  by  far  better  than  any 
pen  drawing  made  before  Gigoux’s  time.  To  Menzel  this  method  of  drawing  is 
largely  due,  and  Dalziel  has  told  me  he  bought  copies  of  Menzel’s  drawings  and 
gave  them  to  the  artists  who  were  at  work  on  his  Bible.  But,  though  this  drawing 
of  Poynter’s  is  an  example  of  careful  and  honest  work,  I cannot  conscientiously 
say  that  its  style  is  a good  one  for  a student  to  follow.  The  same  effect  could  have 
been  produced  in  wash  with  one-tenth  the  time  and  labor  and  more  effect  got 
by  a wash  drawing.  I imagine,  however,  Poynter  wanted  his  lines  followed  by  the 
engraver. 

This  was  the  commencement  of  the  reaction  against  translative  wood- 
engraving. These  lines  by  the  artists  had  to  be  followed  by  the  engraver,  and 
when  it  is  remembered  that  the  engraver  had  to  cut  the  whites  out  between  each 
line,  some  idea  of  the  difficulty  of  the  task  can  be  formed.  And  when  it  is  con- 
sidered that  the  process  block  of  the  original  drawing  from  which  this  impression 
is  printed  was  made  automatically,  I think  it  shows  most  conclusively  what  strides 
mechanical  reproduction  has  made.  As  to  the  reproduction  the  lines  nearly  all 
over  have  thickened  appreciably,  and  in  some  places  have  filled  up,  because  the 
drawing  was  made  on  yellowish-toned  paper  and  in  parts  in  a very  grey  ink,  and 
having  been  made  forty-nine  years  ago,  it  has  also  probably  faded.  The  grey 
lines  in  a few  places  have  been  entirely  omitted,  and  in  other  places  have 
thickened  perceptibly  or  become  rotten.  But  I want  to  show  that  it  is  possible 
to  reproduce  a drawing  like  this  simply  and  easily  by  process,  giving  the  character 
and  feeling  of  the  work,  which  this  block  does;  while  the  engraving  of  it  on  wood, 
line  for  line,  would  be  an  almost  impossible  task  with  really  no  better  results. 
For,  as  I have  shown,  in  the  wood-engraving  you  do  not  have  the  lines  but  the 
effect  produced  by  cutting  round  them;  in  the  process  block  you  have  the  lines 
themselves  reproduced  just  as  they  were  drawn. 

Of  the  rest,  there  are  Holman  Hunt,  J.  D.  Watson,  J.  W.  M.  Ralston,  while 
the  work  of  G.  J.  Pinwell,  Sir  James  D.  Linton,  and  the  later  men  is  to  be  found  in 
the  early  volumes  of  The  Graphic , The  Illustrated  London  News  and  The  British 
Workman. 

It  would  be  most  interesting  to  publish  examples  of  all  this  work,  though  it 
was  not  done  for  process,  if  the  original  drawings  could  have  been  obtained;  but 
in  many  cases  they  could  not  have  been  rendered  satisfactorily  by  photo-engrav- 
ing, not  through  any  fault  of  process  engraving  but  because  the  artists  worked 
without  knowledge  of  it,  while  the  reproductions  of  the  engravings  would  only 
prove  the  possibilities  of  process  for  reproducing  wood-engravings,  and  nothing 
about  the  drawings.  Therefore,  interesting  as  it  would  be,  and  difficult  as  it  is  for 
me  to  resist  showing  them,  to  do  so  is  not  within  the  limits  of  this  book.  Those 
which  have  been  included  in  this  edition  are  mainly  from  original  drawings,  mostly 
in  private  collections,  which  the  owners  or  artists  have  kindly  allowed  me  to  use. 


210  PEN  DRAWING 

Frederick  Shields  lent  me  a photograph  from  one  of  his  designs  for  Defoe’s 
Plague , which  is  almost  Rembrandtesque  in  its  feeling  of  light  and  shade.  That 
little  six-penny  book  was  better  done  sixty  years  ago  than  anything  we  are  doing 
today. 


From  Defoe’s  “Plague.”  F.  Shields 


PEN  DRAWING  IN  ENGLAND  IN  THE  PRESENT  SIR  GEORGE 
REID 


SIR  GEORGE  REID’S  pen  work  contained  all  the  subtleties  and  refine- 
ments of  a most  delicate  etching,  drawn  on  a piece  of  paper  no  larger 
than  this  reproduction — for  his  drawings  are  mostly  done  the  same  size 
as  their  reproductions.  Sir  George  told  me  that  he  made  a pencil  draw- 
ing from  nature,  then 
from  this  worked  out 
an  elaborate  study  in 
pen  and  ink  of  the  pro- 
posed size  of  its  repro- 
duction. The  photo- 
engraver tells  you  your 
work  must  be  reduced 
to  get  fineness;  here  is 
the  most  positive  ref- 
utation of  such  state- 
ments. Yet  see  how 
well  this  design  prints. 

MUIRHEAD  BONE  AND  D.  Y.  CAMERON 

THESE  very  skillful  and  prodigiously  successful  artists  have  made  many  pen 
drawings  and  still  make  them,  breaking  away  from  Reid  and  the  traditions  of 
their  contemporaries  that  went  back  to  the  early  British  water  colorists,  working 
a combination  of  wash  and  line  really  as  Claude  had  done.  There  is  a strength 
and  directness  about  their  work,  a valuable  lesson  and  a valuable  contrast  to  most 
of  the  modern  drawings  imitating  the  old  men  we  can  see  around  us.  There  is 


212 


PEN  DRAWING 


no  reason  why  work  should  not  be  done  in  this  manner  if  the  artist  does  not 
get  too  mannered.  Both  Bone  and  Cameron  have  illustrated  books  with  pen 
drawings.  Note  the  difference  between  Bone  and  Reid’s  styles. 

ALFRED  PARSONS  . 

ALFRED  PARSONS  transgressed  almost  every  law  of  pen  drawing.  There  is 
no  shorthand  about  his  work,  there  is  no  suggestion  in  line;  but  he  has  with 
a pen  succeeded  where  everyone  else  has  failed.  His  pen  work  has  the  richness  and 
fullness  of  color  and  the  delicacy  of  handling  of  an  etching,  combined  with  the 
utmost  elaboration  that  could  be  obtained  with  color.  When  a man  can  carry 
pen  drawing  to  this  perfection  of  completeness,  there  is  no  reason  why  he  should 
not,  provided  the  result  is,  as  with  Parsons,  artistic.  With  other  men,  however, 
it  is  usually  labored  and  artless. 

The  manner  in  which  he  arrived  at  this  mastery  of  pen  drawing  was  by  re- 
garding it  as  no  less  serious  a medium  than  any  other,  by  studying  the  light  and 
shade  of  his  subject  as  in  the  drawing  at  Long  Marston,  by  seeking  for  tone  and 
color  where  other  men  strive  for  line.  Note  the  drawing  of  the  distant  trees,  the 
curves  of  each  leaf  in  the  foreground  plants  of  the  drawings,  and  the  character 
which  he  puts  into  the  stem  and  leaf  and  blossom  of  every  plant  he  renders.  His 
drawings  of  plant  forms  are  full  of  decorative  feeling.  He  was  a perfect  combina- 


OF  PEN  DRAWING  IN  ENGLAND 


213 


tion  of  decorator  and  illustrator  just  like  the  old  men.  If  he  gives  you  an  eight- 
eenth-century initial,  you  may  be  sure  it  has  come  from  the  best  authority,  just 
as  you  know,  if  you  are  a botanist,  that  his  flowers  are  right.  But  work  like 
Parsons’  can  only  be  produced  by  the  most  careful  study  from  nature.  As  a general 
rule,  Rico’s  methods  are  much  better,  and  they  are  more  difficult  to  follow,  because 
Rico  is  a great  analyst,  and  the  analytical  faculty  is  probably  rarer  than  that  of 
complete  rendering.  But  Parsons  possesses  this  latter  quality,  as  well  as  that  of 
decoration,  to  a greater  degree  than  any  modern  pen  draughtsman.  The  drawings 
are  made  on  smooth  Whatman  paper  with  inks  more  or  less  diluted  with  water. 
Their  great  feature  is  not  the  skill  with  which 
they  are  done,  but  the  truth  with  which 
everything  is  drawn,  and  the  marvellous 
manner  in  which  difficulties  hitherto  con- 
sidered insurmountable  by  pen  draughtsmen 
have  been  overcome.  The  plate  from  She 
Stoops  to  Conquer  is  the  best  example  of 
decorative  realism  that  I could  possibly  show. 

The  shield  and  the  lettering  might  be  the 
work  of  a decorator  of  Goldsmith’s  or  Gibbons’ 
day.  But  no  one  has  ever  made  such  studies 
of  roses  as  those  which  surround  and  build 
up  this  most  original  title.  The  flowers  grow 
across  the  design  with  all  that  feeling  for 
curve  and  line  which  the  old  men  knew  and 
felt,  which  poor  moderns  know  nothing  about, 
and  could  not  draw  if  they  did  know.  But 
ignorance  is  bliss  to  the  ignorant  and  incom- 


214 


PEN  DRAWING 


V' 


From  Harper Magazine.  Copyright.  1887,  by  Harper  & Brothers. 

petent.  Parsons’  work  contains  vital  lines,  but  they  are  hidden  among  the 
flowers,  and  each  spray  and  each  flower  and  each  leaf  is  worked  out  in  a manner 
unknown  before  our  time. 


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W W jtfmKS 

to^lP Is 

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OF  PEN  DRAWING  IN  ENGLAND  W.  L.  WYLLIE 


215 


WYLLIE  has  made  the  Thames  his  own.  These  drawings  done  largely,  freely, 
and  boldly,  mainly  with  a quill  pen,  show  not  only  his  command  of  the 
pen,  but  his  knowledge  of  the  construction  of  boats,  the  movement  and  swing  of 
the  water  and  the  effect  of  sunlight  shining  through  the  bright  but  misty  and 
smoky  atmosphere  of  the  river.  The  quill  and  brush  have  both  been  used.  Where 
the  roulette  work  is  seen,  it  indicates  his  greyish  brush  marks. 


OF  PEN  DRAWING  IN  ENGLAND  T.  BLAKE  WIRGMAN 


217 


THESE  drawings  by  Blake  Wirgman  differ  as  much  in  style  as  in  subject,  but 
are  alike  in  their  mastery  of  method.  The  portrait  of  Mrs.  Smeaton,  after 
Reynolds,  though  apparently  knocked  off,  is  full  of  knowing  suggestion  of  the 
modelling  and  color  of  the  original.  In  the  other,  of  Armstead,  the  sculptor,  he  has 
expressed  himself  by  line.  Dantan  in  his  drawing  of  a similar  subject  shows  color; 
Wirgman  uses  pure  line,  by  which  he  gets  suggestion  of  color  and  indicates  the 
surfaces.  He  makes  the  fewest  lines  tell  with  the  greatest  effect.  This  drawing  and 
others  of  English  sculptors,  engraved  on  wood  and  much  reduced,  appeared  in  The 
Century  years  ago.  They  don’t  print  such  drawings  now.  Is  there  any  one  in  this 
country  who  could  make  them  ? That  I do  not  know,  but  I do  know  that  Wirgman 
is  still  alive,  but  you  see  his  drawings  as  rarely  as  those  of  other  good  men. 


OF  PEN  DRAWING  IN  ENGLAND  WALTER  CRANE  219 

WALTER  CRANE  furnished  me  with  this  design  as  a characteristic  example 
of  his  illustrative  work.  His  manner  of  working  he  also  told  me  was  to  make 
with  lead-pencil  or  chalk  a more  or  less  elaborate  study  of  his  subject,  with  a 
great  and  proper  idea  of  its  decorative  value,  on  a piece  of  paper  of  the  proposed 
size  of  the  final  drawing.  He  then  made  a tracing  from  this  and  worked  it  out  in 
pen  and  ink.  The  drawing  was  scarcely  larger  than  the  reproduction.  There  is 
nothing  gained  by  reducing  his  work;  in  fact,  I think  the  nearer  the  original  size 
it  is  reproduced  the  better  it  comes.  Curiously,  too,  the  more  it  is  enlarged  the 
better  it  tells  and  prints  to  the  space  it  fills. 

The  feeling  of  long  sweeping  lines  and  the  suggestion  of  modelling  in  the 
drawing  are  very  fine.  But  when  we  look  at  the  lines  of  which  the  drawing  is 
composed,  and  compare  them  with  the  work  of  men  whom  Crane  considers  to  be 
the  ideal  draughtsmen,  we  find  that,  in  his  reverence  for  them,  he  seeks  to  per- 
petuate even  the  defects  and  imperfections  which,  had  they  been  able,  they  would 
have  been  the  first  to  overcome.  These  defects  were  really  due  to  the  undeveloped 
stage  of  engraving  and  printing,  when  there  were  endless  mechanical  difficulties 
which  the  woodcutter  and  the  printer  could  not  surmount.  But  in  the  preservation 
of  the  defects  of  these  early  draughtsmen  Crane  seems  to  be  quite  as  faithful  as  in 
his  admiration  of  their  perfections.  Again,  when  we  compare  his  cross-hatching 
and  shadow  lines  with  the  work  either  of  the  early  Italians  or  of  Diirer,  for  example, 
we  find  that  he  does  not  work  with  the  care  for  each  individual  line  which  charac- 
terized their  autographic  drawing,  that  is,  their  etched  work  or  the  work  they 
engraved  on  metal,  which,  and  not  the  woodcutting  done  by  pupils  or  assistants, 
is  equivalent  to  the  pen  drawing  of  today.  This  can  be  most  clearly  seen  in  the 
woman’s  face  or  the  shadow  of  the  man’s  back  where  Crane  has  got  in  a mess 
and  scribbled  over  it  instead  of  carefully  drawing  it.  The  effect  is  quite  right,  but 
the  student  who  followed  the  lines  would  most  certainly  come  to  grief.  But  Crane’s 
decorative  feeling  is  fine  and  he  gets  good  color  effect.  Crane’s  best  work  was 
done  for  the  Kelmscott  Press  and  engraved  on  wood  by  W.  H.  Hooper. 

He  repeatedly  told  me  and  seemed  to  think  that  process  cannot  reproduce  his 
work,  though  he  found  this  reproduction  satisfactory.  Nothing  could  really  be 
easier  to  reproduce  by  process  than  his  drawings,  were  it  not  that  he  used  a very 
poor  ink,  getting  in  the  result,  notably  in  the  shadows  on  the  armor  which  express 
the  modelling  of  the  man’s  back,  instead  of  the  grey  he  wanted,  a black  line,  the 
true  quality  of  which  can  only  be  obtained  by  the  most  minute,  laborious,  and 
careful  hand-work,  either  in  process  or  woodcutting,  though  this  could  be  avoided 
by  adopting  either  the  line  of  Diirer  or  the  style  of  the  pen  draughtsmen  of 
today.  For  example,  Howard  Pyle’s  wrork  shows  admirably  what  I mean.  As  it  is, 
Crane’s  drawings  cannot  be  reproduced  without  this  elaborate  and  useless  ex- 
penditure of  time  on  the  part  of  the  wood-engraver  or  the  photo-engraver.  Other 
work  by  Walter  Crane  is  reproduced  in  the  Chapter  on  Decoration.  Charles 
Ricketts  and  Charles  Shannon, too,  have  made  remarkable  drawings,  but  on  wood. 


AUBREY  BEARDSLEY 


HE  very  great  number  of  drawings  which 


Beardsley  is  said  to  have  done  makes  their 
perfection  of  execution  all  the  more  remarkable. 
Though  artists  may  be  struck  with  a man’s  earliest 
work,  and  though  the  creator  of  it  may,  and 
frequently  does,  never  produce  anything  better, 
one  usually  waits  until  he  is  dead,  or  discouraged, 
before  any  visible  sign  of  appreciation  is  granted 


But  whether  Aubrey  Beardsley’s  work  was 
appreciated  or  despised — and  my  only  fear  was 
that  he  would  suffer  from  over-appreciation  and 
enthusiasm — his  work  shows  decisively  the  presence 
of  an  artist,  whose  illustration  is  quite  as  remark- 
able in  its  execution  as  in  its  invention — a very 
rare  combination.  It  is  most  interesting  to  note, 
too,  that  though  Beardsley  took  his  motives  from 
every  age,  and  founded  his  styles  on  all  schools, 
he  has  not  been  carried  back  into  the  fifteenth 
century,  or  succumbed  to  the  limitations  of  Japan; 
he  recognized  that  he  lived  in  the  last  decade  of 


him. 


the  nineteenth  century,  and  he  availed  himself  of  mechanical  reproduction  for 
the  publication  of  his  drawings,  which  the  Japs  and  the  Germans  would  have 
accepted  with  delight  had  they  but  known  of  it.  Beardsley  recognized  that 
decoration  means,  not  the  production  of  three  or  four  fine  stock  designs,  and 
the  printing  of  these  in  books,  to  which  they  have  no  relation,  on  a hand-press; 
but  that  decoration  should  be  the  individual  and  separate  production  of  designs 
which  really  illustrate  or  decorate  the  page  for  which  they  were  made,  and  that 
the  artistic  value  of  such  designs  is  not  lessened  by  the  fact  that  they  are  quite 
as  well,  if  not  better,  printed  by  steam  than  they  have  ever  been  by  hand. 


Although  in  all  of  Beardsley’s  drawings  which  I have  seen  there  are  signs 
of  other  men’s  influence,  I know  no  reason  why  this  influence  should  not  be 
apparent  if  the  inventor  of  what  we  may  consider  the  type  is  worthy  to  imi- 
tate. Some  of  his  head  and  tail  pieces,  notably  one  of  men  in  armor,  seem  to  me, 
in  execution  as  well  as  design,  quite  equal  to  the  best  fifteenth-century  work. 
Then,  too,  his  little  landscapes  are  altogether  delightful;  though  they  are  con- 
ventional in  the  right  sense,  they  are  not  imitations.  But  most  interesting  of  all 
is  his  use  of  the  single  line,  with  which  he  weaves  his  drawings  into  a har- 
monious whole,  joining  extremes  and  reconciling  what  might  be  oppositions 


leading,  but  not  forcing,  you  properly  to  regard  the  concentration  of  his  motive. 
In  his  blacks,  too,  he  has  obtained  a singularly  interesting  quality,  and  always 
disposes  them  so  as  to  make  a very  perfect  arabesque. 

I wrote  the  foregoing  on  the  faith  of  the  drawings  and  prints  that  I was 
shown  when  Beardsley  first  appeared,  because  I knew  they  were  the  work  of  a 
man — a boy — who  had  done  something  to  carry  on  tradition — but  I did  not 
know  if  he  would  do  anything  more.  And  I did  know  that  often  an  article  is  a 
refuge,  a safe  harbor  for  one  who  can  only  repeat  what  he  has  done,  and  never 
tries  after  to  go  on.  So  I hedged.  But  Beardsley  was  not  of  that  sort — he  went  on. 


226 


PEN  DRAWING 

He  and  Henry  Harland  started  The  Yellow  Book.  I did  not  believe  it  would 
succeed,  but  it  did,  and  in  it  Beardsley  came  into  his  own.  Then,  or  maybe  it 
was  before,  he  illustrated  Salome — and  then  came  the  Rape  of  the  Lock , which 
proved  him,  as  Whistler  said,  and  the  world  acknowledged,  “a  great  artist,” 
and  won  him  fame.  Then  came  the  V olpone , and  before  it  was  finished  came  death; 
but  he  has  builded  himself  an  enduring  monument  in  his  work.  And  two  English 
boys  whom  the  gods  loved  died  young — John  Keats  and  Aubrey  Beardsley. 
They  died,  and  from  the  same  cause,  the  hatred  and  spite  of  their  contemptible 
contemporaries,  but  their  names  and  their  works  live;  they  are  amongst  the 
glorified  in  English  art  and  English  letters.  Beardsley  built  better  than  he  knew, 
but  he  knew  better  than  I,  and  it  is  good  to  know  now  that  one  had  a part  in 
those  wonderful  days  in  that  wonderful  world — which  is  gone  but  never  will  be 
forgotten,  though  it  is  never  to  return.  The  world  of  art  and  letters  is  dead. 


The  Old  School-house , Uppingham. 


F.  L.  GRIGGS 

MESSRS.  MACMILLAN  for  many  years  have  been  issuing  a glorified  series 
of  guide  books,  Highways  and  Byways,  and  Mr.  Griggs  has  illustrated  many 
of  them  with  good,  strong  work — from  simple  direct  line  to  complicated  arrange- 
ments, in  which  he  has  used  pencil  and  chalk;  the  results  are  very  interesting. 
The  artist  began  by  working  rather  in  the  manner  of  Mr.  New,  but  has  long  ago 
developed  a style  of  his  own,  which  has  distinction  and  character. 


Brecon  Bridge. 


Newport  Cattle. 


A.  LEGROS 

LEGROS,  like  an  old  master — and  he  was  called  “a  belated  old  master” — 
tried  all  sorts  of  mediums  and  methods,  and  though  he  has  kept  the  feeling 
of  the  early  Italian  engravers  and  added  to  the  head  a bit  of  Holbein,  he  has 
drawn  it  so  that  it  engraves  very  well  by  process.  This  is  the  right  way  to  work. 
The  design  is  simple  and  dignified  and  not  overloaded  with  medievalism,  as  is 
much  of  his  work.  Note  the  relief  of  the  white  on  black. 


WALTER  SICKERT 

MR.  SICKERT’S  study  of  George  Moore  is  not  only  an  excellent  portrait 
of  George  Moore  in  full  bloom,  but  a very  careful  study  of  lighting.  The 
shadow  on  the  left  cheek  has  come  too  dark,  otherwise  the  reproduction  is  admi- 
rable. The  light  on  the  hair  was  obtained  by  scratching  away  the  ink  with  an 
eraser.  This  is  one  of  the  few  decent  drawings  he  ever  did.  The  drawings  he  does 
today  I have  no  use  for,  but  critics  worship  them.  This  one  has  character. 


OF  PEN  DRAWING  IN  ENGLAND  RANDOLPH  CALDECOTT  231 

THERE  is  a side  to  Caldecott’s  drawing  which,  though  it  has  been  almost 
altogether  ignored,  is  really  the  only  side  to  be  considered  by  the  student. 
This  is  his  power  of  showing  expression  and  action  by  a few  lines,  often  by  a 
single  line  of  his  brush  used  as  a pen.  There  is  no  one  in  England  who  has  ever 
equalled  him  in  this,  and  I very  much  doubt  if  any  one  anywhere  ever  surpassed 
him.  I do  not  see  how  it  would  be  possible  to  give  with  fewer  lines  the  intense 
expression  of  the  cat  stealthily  approaching  the  mouse.  But  curiously  enough, 
although  there  are  several  other  cats  in  The  House  That  Jack  Built , there  is  not 
one  which  comes  near  it,  unless,  perhaps,  I except  the  cat  worried  by  the  dog 
in  which,  however,  the  dog  is  characterless,  while  the  intense  expression  which 
characterizes  the  cat  I give  is  wanting  in  all  the  others. 

Again,  has  anybody  ever  given  such  a delightful  absurdity  as  this  of  the 
dog,  who  to  gain  some  private  ends,  went  mad  and  bit  the  man?  It  is  the  con- 
centration of  action  and  expression.  Could  anything  be  finer  than  the  two  dots 
for  eyes  which  glitter  with  madness,  or  the  aimless  expression  of  the  fore  paws 
and  the  undecided  pose  of  the  whole  body?  You  have  not  an  idea  in  which 
direction  the  dog  will  spring,  but  you  are  very  sure  you  ought  to  get  out  of  the 
way.  The  big  dog,  too,  sitting  among  broken  pots  and  plates,  is  fine,  but  Calde- 
cott simply  could  not  work  out  a foreground.  When  a man  draws  plants  and 
flowers  and  grass,  I at  once  compare  him  with  Alfred  Parsons;  if  he  cannot  give 
them  so  well  as  Parsons,  it  is  useless  for  the  student  to  turn  to  his  work.  Par- 
sons worked  from  nature;  Caldecott  out  of  his  head. 

Caldecott’s  drawings  were  done  with  a brush  used  as  a pen,  in  sepia  or 
some  other  liquid  color.  But  unless  the  printing  is  in  brown,  as  in  the  Picture 
Books  and  jEsop’s  Fables , it  is  impossible  to  give  any  idea  of  his  work.  It  cannot 
be  reproduced  in  its  proper  value,  and  absolutely  the  only  object  in  using  this 
brown  ink  is  to  make  work  for  engravers  and  color-printers.  Edmund  Evans 
engraved,  as  far  as  I know,  all  the  color-work  of  Caldecott,  with  whom  his  name 
has  come  to  be  very  closely  associated.  The  work  of  Caran  D’Ache  is  done  with 
a pen  in  black  ink,  and  the  flat  color  washes,  which  he,  like  Caldecott,  uses 
are  lithographed  or  processed.  This  method  is  far  simpler  and  the  colors  seem 
to  keep  in  their  places  better. 

It  would  be  almost  impossible  to  give  a better  idea  of  bounding  free  motion 
than  in  this  stag  from  the  JEsop , with  the  whole  of  Scotland  stretching  away 
behind  him,  though  probably  the  lines  in  the  shadow  were  better  in  the  original 
drawing.  Then  look  at  the  happy  fox  after  he  has  fooled  the  stork,  and  the 
innocent  young  lamb,  probably  just  before  he  entered  on  his  discussion  with  the 
wolf.  Take  this  lamb  technically,  I cannot  conceive  of  anything  more  innocent 
and  childlike  ; it  would  be  simply  absurd  to  attempt  to  copy  such  a drawing 
and  yet  everything  you  want  is  in  it.  It  shows  Caldecott’s  marvellous  power  in 
expressing  a whole  story  in  a few  lines,  technically  worthless  for  any  one  else; 
in  his  hands  perfect.  But  the  minute  he  went  beyond  this  expression  in  pure 


232 


PEN  DRAWING 

outline,  only  to  be  surpassed  by  the  cleverness  of  handling  of  Caran  D’Ache 
and  the  Japanese,  he  began  to  fall  off.  Caldecott  was  not  able  to  express  with 
many  lines  what  he  could  indicate  with  one.  If  a man  can  express  so  much  in 
one  line  as  he  did,  he  is  really  great;  no  one  can  follow  him.  If  you  have  the 
same  ability,  you  can  do  the  same  thing  in  your  way;  if  you  have  not,  your 
imitation  of  his  way  is  sure  to  be  artless  and  valueless.  I know  it  will  be  said 
that  there  are  cases  in  which  Caldecott  drew  figures  and  elaborated  landscape 
well;  perhaps  there  are,  but  they  are  very  rare  exceptions,  and  even  in- these 
exceptions  his  work  cannot  be  compared  with  Charles  Keene.  What  I want  to 
show  is  every  man’s  best  work,  and  what  I have  shown  is,  I think,  Caldecott’s. 


THE  BIRMINGHAM  SCHOOL 

I AM  very  glad  to  have  the  opportunity  of  including  the  work  of  several  mem- 
bers of  what  was  called  the  Birmingham  School.  These  artists  set  up  a stand- 
ard for  themselves,  and  endeavored  to  follow  out  their  beliefs.  Their  theory  is 
(though  after  all  it  is  but  the  scheme  of  Morris  and  Crane),  that  all  illustration 
must  be  decorative — conventional.  That  it  must  harmonize  in  color  and  in  line 
with  the  type,  and  that  it  must  be  printed  simply  and  naturally  with  it.  That  all 
realism,  all  mechanical  improvements  are  excluded  as  out  of  place  in  a book.  That 
pictures,  which  they  hold  are  not  decorative,  that  is  conventional,  in  black  and 
white,  are  to  be  kept  in  portfolios  or  hung  on  walls.  That  all  work  should  be  so 


drawn  that  it  can  be  printed  on  hand-made  paper,  without  overlays  or  other  aids. 
And  finally,  that  the  decoration  is  but  a part  of  the  page  of  no  more  importance 
than  the  type,  and  that  to  the  spacing  of  the  type  and  placing  of  the  blocks  the 
greatest  care  should  be  given.  Having  placed  these  limitations  on  themselves, 
they  have  gone  to  work  in  their  own  way,  and  here  are  the  results.  I respect 
their  self-restraint  in  so  limiting  themselves,  but  what  is  gained  I fail  to  see, 
or  how  a work  of  art  can  be  anything  but  decorative — if  it  is  a work  of  art — 
whether  conventional  or  not.  In  this  work  there  is  great  danger  of  mannerism 
and  monotony. 

The  Birmingham  School,  like  the  Glasgow  School,  broke  down.  New  alone 
survived,  and  after  illustrating  work  for  Morris  and  a fine  edition  of  Walton  s 
Angler , went  to  Oxford  and  devoted  himself  for  years  to  drawing  the  colleges, 
making  a series  of  Loggan  Views,  a worthy  and  well-done  work. 


236  CHARLES  KEENE 


PEN  DRAWING 


THERE  are  very  few  men  in  this  world  about  whose  work  every  one  has 
now  a good  word  to  say.  But  Charles  Keene  was  and  deserved  to  be  one  of 
the  few.  Whistler  is  another.  Yet  during  his  life  he  was  scarce  known.  His  style 
was  always  excellent;  his  subjects  interesting  or  amusing,  and  he  always  strove 
to  improve  on  his  own  methods.  No  draughtsman  in  England  reached  such  a 
high  standard;  maintained  it,  and  continually  tried  to  improve  it.  I am  not  even 
certain  whether  the  first  drawing  was  made  with  a pen,  for  the  pen  quality  has 
been  entirely  cut  out  of  it.  But  I have  seen  so  many  exactly  like  it  done  with  a 
pen,  that  I think  it  probably  was.  At  any  rate,  it  is  an  example  of  very  good 
line-work;  in  the  study  of  character  in  the  two  figures,  in  the  modelling  of  the 
ground,  and  in  the  suggestion  of  distant  landscape.  There  is  absolutely  no  reason 
why  I should  have  selected  this  particular  drawing,  as  in  the  case  of  Du  Maurier’s 
early  work  all  are  good,  but  unlike  Du  Maurier,  Keene  went  on  and  on — did 
not  play  down  to  the  artless — but  up  to  the  artists,  and  even  they  till  after  his 
death  had  little  idea  what  a great  man  he  was — the  greatest  English  artist  since 
Hogarth,  said  Whistler.  Yet  Keene,  the  greatest  British  artist  since  Hogarth, 
was  unrecognized  by  his  contemporaries.  Those  drawings  which  appeared  in 
Punch  during  the  last  few  weeks  of  his  life  are  equally  good,  if  not  better;  and, 
indeed,  thirty  years  of  Punch  are  a record  of  Keene’s  efforts  to  produce  the  best 


OF  PEN  DRAWING  IN  ENGLAND  237 

character  sketching  in  the  best  possible  manner.  His  methods  were  those  of 
extreme  simplicity  and  directness  of  work,  thought  in  composition,  attention  to 
modelling,  and  care  in  arrangement.  There  are  living,  moving,  modelled  figures 
in  the  clothes  they  wear.  Owing  to  the  fact  that  he  used  grey  ink  when  drawing 
for  the  engraver,  washes  here  and  there,  and  introduced  pencil  work,  no  line 
process  save  photogravure  will  give  a better  result  than  the  wood-engraving  by 
Swain. 

The  other  example  has  never  been  published  before,  and  shows  the  man’s 
work  done  some  sixty  years  ago — the  real  Keene — which  never  could  have  been 
properly  cut  on  wood,  though  it  now  comes  perfectly  by  process.  It  is  one  of  the 
most  interesting  drawings  in  the  book.  It  shows  exactly  what  Keene  would 
have  done  had  process  been  able  to  reproduce  him  when  he  made  the  drawing. 
Many  other  examples  will  be  found  in  my  study  of  Charles  Keene  and  His  Work. 


L.  RAVEN  HILL 

Mr.  hill  is  a man  of  many  moods.  He  has  studied  all  methods  and  all 
styles.  The  baby  certainly  owes  its  inspiration  to  the  Japanese,  but  the 
observation  is  as  true  and  intelligent  as  the  handling  is  direct  and  simple.  In  the 
other  there  are  reminiscences  of  Keene  and  of  Forain,  as  well  as  of  Deal.  But 
the  composition  is  his  own.  The  characters  of  the  dealer  and  his  “client”  are 
well  rendered;  the  architectural  features  are  well  put  together;  and  the  glimpse 
up  the  street  adds  interest,  but  does  not  detract  from  the  story.  Color  is  indicated, 
and  form,  as  in  the  fish,  is  carefully  attended  to.  Mr.  Hill,  I believe,  does  not  work 
to  a great  extent  from  nature,  or  even  models,  but  depends  on  his  memory  and 
his  observation,  and  in  his  work  they  do  not  often  fail  him.  He  is  now  com- 
pelled, however,  to  make  dreary  cartoons  for  that  dreary  paper  Punch — which 
owns  him. 


J.  BERNARD  PARTRIDGE 

MR.  PARTRIDGE  has  won  for  himself  a place  in  English  illustration,  both 
by  his  Punch  work  and  his  book  illustration.  The  drawing  of  the  Italian 
is  very  good  in  expression,  especially  the  face  and  hands;  but  I think  it  a pity 
he  added  the  meaningless  lines  in  the  background.  The  other  drawing,  from 
Austin  Dobson’s  Proverbs  in  Porcelain , is  very  graceful.  One  thing  to  be  specially 
noted  about  Mr.  Partridge’s  work  is  the  clean,  sharp  manner  in  which  it  repro- 
duces. It  is  almost  improved  by  reproduction.  He  has  become  the  leading  car- 
toonist for  Punch — but  Punch  is  not  the  leading  art  weekly  any  longer,  though 
still  the  admiration  of  the  artless,  especially  in  artless  America. 


EDGAR  WILSON 

WILSON  proved  conclusively,  with  these  two  drawings,  that  decorative 
work  need  not  be  conventional,  although  the  summing  up  of  the  conven- 
tions of  all  time  is  to  be  found  in  all  good  work.  The  arrangement  of  big 
sweeping  lines  is  very  fine.  Although  Wilson  was  learned  in  Japanese  art,  there  is 
no  undue  obtrusion  of  it  here.  He  was  only  known  to  artists  till  his  death.  His 
best  work  is  in  the  Butterfly , a little  known  journal  of  the  nineties. 


2.o  i">  F-5/r  £ ^ M 


PHIL  MAY 

NO  man  in  England  had  so  great  an  influence  on  modern  illustration  as  Phil 
May.  It  is  very  easy  to  account  for  this — no  man  is  easier  to  imitate  super- 
ficially, no  man  more  difficult  to  follow  really,  so  keen  is  his  appreciation  of 
character,  so  subtle  his  delineation  of  it.  But  his  style  of  handling  has  been  uni- 
versally borrowed.  The  contrast  of  white  and  black,  the  backing  up  of  thin  lines 
by  masses  of  thick  ones,  and  his  knowing  simplification  of  drapery  and  use  of  big 
black  spaces — these  methods  have  been  almost  universally  appropriated.  But 
his  power  of  drawing  and  his  sense  of  humor  are  unrivalled.  Nothing  more  amus- 
ing could  be  imagined  than  the  legend  to  What’s  the  Row?  However,  in  this  it 
seems  to  me  he  has  carried  his  simplification  too  far.  But  the  Old  Parson  is 
almost  perfect,  while  the  Reminiscence  of  the  Pelican  adds  faithful  protraiture 
to  its  many  other  merits.  Yet  the  portraits  are  not  insisted  upon,  they  are  in  their 


246  PEN  DRAWING 

right  places,  while  the  use  of  line  and  solid  color  is  most  knowing.  May’s  simplicity 
of  style  was  got  by  endless  work.  A sheet  of  tracing  paper  laid  on  the  apparently 
finished  drawing  and  some  lines  omitted  or  added — it  was  by  this  slow  method 
that  he  gave  the  impression  of  rapid  work.  Methods  are  often  deceptive. 


“Wot’s  the  row  up  the  court,  Bill?” 

“Bob  Smith  was  kissing  my  wife  and  ’is  old  woman  caught  him.” 


247 


OF  PEN  DRAWING  IN  ENGLAND  LINLEY  SAMBOURNE 


SAMBOURNE  at  one  time  was 
very  popular  in  Punch , but  his 
best  work  was  done  for  Kingsley's 
Water  Babies.  Tenniel  was  a great 
cartoonist  for  the  artless  and  so 
was  Leech,  yet  artistically  they  are 
forgotten — Leech  altogether,  while 
Tenniel  is  remembered,  like  Sam- 
bourne,  for  his  children’s  books,  his 
delightful  Alice  in  Wonderland.  All 
of  these  men’s  work,  however,  is 
hard  and  liny,  but  they  got 
character  into  their  conceptions 
and  will  live — or  the  people  in  the 
books  live  by  the  artists.  But  save 
for  extreme  care  I do  not  commend 
them  as  pen  draughtsmen. 


Wood  Engraving  by  Swain 


Process  Block  by  Dawson 

Of  Sambourne’s  composition, 
which  is  always  good,  his  drawing 
of  the  lobster  and  the  small  boy 
looking  at  it,  from  th  z Water  Babies, 
is  characteristic;  that  is,  his  com- 
bination of  human  figures  and 
animal  forms,  often  very  grotesque. 
This  large  lobster  drawing  was 
done  in  such  poor  ink  it  would  not 
have  come  by  process.  The  pages 
of  Punch  are  filled  with  such  draw- 
ings. It  would  be  almost  useless 
for  the  student  to  copy  his  work, 
because,  owing  to  this  conventional 
treatment,  he  would  only  obtain 
an  exceedingly  weak  Sambourne. 

His  drawings,  to  use  an  illus- 


trator s phrase,  are  sure  to  make  a hole  in  the  page.  His  effects  are  almost  always 
novel  and  catch  your  eye  and  interest  you,  even  though  the  subject  is  very 


OF  PEN  DRAWING  IN  ENGLAND  249 

local.  This  is  as  it  should  be,  for  if  a drawing  is  done  in  an  interesting  manner 
the  subject  is  of  minor  importance.  But  it  is  for  the  pleasing  fantastic  medley 
which  he  produces  in  an  impossible  book  like  the  Water  Babies , that  Sambourne’s 
work  interests  the  world,  whether  the  subject  is  understood  or  not. 


W.  DEWAR 

I HAVE  only  seen  two  of  Mr.  Dewar’s  drawings,  but  this  one  is  good  enough 
to  make  any  man’s  reputation,  and  I am  glad  to  have  the  chance  of  including 
it.  The  design  is  ably  rendered,  full  of  character  and  go,  and  is  worth  study. 


250  GEORGE  DU  MAURIER  PEN  DRAWING 


PUBLISHED  in  1865.  I only  chose  this  drawing  because  it  was  one  of  the 
first  which  appealed  to  me  when  studying  Du  Maurier’s  work  in  Punch.  I 
might  have  shown  a hundred  others  of  that  period  as  delightful  but  different. 
And  yet  with  these  drawings,  at  times  printed  in  the  same  number  or  even  on 
the  opposite  page,  we  find  the  Du  Maurier  of  modernity  whom  I am  utterly 
unable  to  understand.  In  saying  this,  I refer  to  his  use  of  a mechanical  cross- 
hatch  to  express  almost  all  sorts  of  surfaces  and  of  one  type  of  face,  and  to  his 
conventional  and  mannered  drawing  of  landscape.  But  it  seems  to  me  that  in 
the  beginning  his  mannerisms  must  have  been  imposed  upon  him  by  the  engrav- 
ers, and  they  ruined  all  his  drawings.  Du  Maurier  did  not  commence  as  a comic 
draughtsman.  There  is  no  comic  element  or  humor  in  his  early  drawings,  nor, 
for  that  matter,  in  many  of  his  later  ones.  But  every  artist  would  wonder  at  his 
early  technique,  his  expression,  and  the  grace  he  got  out  of  the  so-called  inartistic 
dresses  of  the  sixties.  No  effect  seems  to  have  been  impossible  to  him.  He  tried 
in  his  early  drawings  to  render  daylight  and  nightlight;  he  worked  in  all  sorts 
of  styles.  There  is  one  set  of  drawings  in  Punch  in  which  you  find  Du  Maurier 
burlesquing  the  Pre-Raphaelite  movement  so  seriously  as  to  be  almost  Pre- 
Raphaelite  himself.  In  this  series  he  is  as  good  as  any  of  the  German  comic 
symbolists;  but  he  is  quite  as  English  as  they  are  German.  In  the  early  days  of 


OF  PEN  DRAWING  IN  ENGLAND  251 

Punch  he  was  a technician.  He  cared  hardly  at  all  for  the  story  he  was  telling, 
but  he  cared  infinitely  for  the  way  in  which  he  drew  it.  Du  Maurier  possessed  the 
power  of  showing  beauty  in  the  most  commonplace  and  uninteresting  subjects. 
It  is  almost  impossible  to  analyze  this.  One  has  simply  got  to  feel  it  for  one’s 
self  in  the  delightful  way  in  which  the  uninteresting  folds  of  the  woman’s  gown 
are  worked  out;  in  the  suggestion  of  modelling  in  the  man’s  trousers,  and  in  the 
study  of  light  and  shade  on  the  polished  leather  of  the  lounge. 

His  last  work  reproduced  perfectly  by  process,  and  I should  imagine,  from 
the  look  of  the  wood-engravings  in  Punchy  that  the  old  work — a drawing  like  this, 
for  example — would  have  come  equally  well,  in  fact  much  more  truly  than  by 
wood-engraving.  Toward  the  close  of  his  life  his  drawings  were  reproduced  almost 
entirely  by  process,  not  only  in  the  pages  of  Punch , but  in  the  illustrations  to 
his  stories  printed  in  Harper  s Magazine;  but  his  later  stories,  like  his  later  draw- 
ings, only  appealed  to  people  unable  to  see  a good  thing  when  they  saw  it. 


WILLIAM  SMALL 

TWO  studies,  one  for  a drawing  and  the  other  made  at  the  Langham  Sketching 
Club.  There  are  few  save  Mr.  Small  and  other  of  the  older  men  who  could 
carry  out  designs  with  such  exquisite  feeling,  to  say  nothing  of  making  such 
studies;  or,  if  any  could  make  such  studies  he  would  at  once  consider  them  finished 
work  and  exhibit  them  and  be  praised.  But  in  the  sixties  illustration  was  a more 


252  PEN  DRAWING 

serious  profession,  which  artists  were  encouraged  by  intelligent  editors  to  follow; 
not  discouraged  by  unintelligent  proprietors.  Whether  a brilliant  study  like  this 
can  be  bettered  by  repeating  and  elaborating  it,  in  another  medium,  is  doubtful; 
but  it  proves  at  any  rate  the  interest  in  their  work  and  the  desire  to  make  that 
work  as  good  as  they  could  which  animated  the  men  who  preceded  us.  The  other 
example,  the  costume  model,  is  a study  at  the  Langham  Sketch  Club.  The  style 
of  both  resembles  the  early  Keene’s,  Whistler’s,  and  Du  Maurier’s.  Who  was  the 
inventor  of  this  style  I do  not  know.  But  I do  know  that  no  more  individual  and 
interesting  method  of  expression  has  ever  been  employed  in  England;  it  might 
almost  be  called  a British  style. 

The  drawings  have  not  come  very  well,  for  the  ink  is  faded  and  the  paper  has 
greyed  with  time;  and,  besides,  process  was  unknown,  wood-engravers  were  unable 
to  follow  these  lines,  and  the  drawings  were  made  purely  for  the  love  of  the  thing. 


OF  PEN  DRAWING  IN  ENGLAND 


253 


A.  S.  HARTRICK  AND  E.  J.  SULLIVAN 

THESE  two  men  started  on  the  Daily  Graphic.  Both  are  notable  for  their 
understanding  of  what  will  print  well.  Mr.  Sullivan  has  possibly  more  love 
for  the  medium  and  more  sense  of  line,  while  Mr.  Hartrick  possibly  expresses  him- 
self better  in  wash.  But  the  reproductions  are  specially  noteworthy  as  showing  what 
admirable  results  can  be  obtained  from  line  drawings  by  the  half-tone  process. 
They  are  the  work  of  the  Swan  Engraving  Company.  Sullivan  has,  however,  as  a 
pen  draughtsman  far  surpassed  not  only  Hartrick,  but  any  one  in  Great  Britain; 
here  we  have  no  one  to  compare  with  him.  His  illustrations  to  Carlyle,  Omar, 
Tennyson  have  won  him  international  fame.  Sullivan,  May,  Beardsley,  and  Bell 
have  carried  on  the  best  tradition  of  British  art.  We  have  done  little  but  cackle. 


254 


PEN  DRAWING 


Sullivan  has  done  more  to  carry  on  tradition 
than  any  man  in  England.  He  knows  more  of  the 
history  and  practice  of  his  craft  than  any  other  illus- 
trator. He  teaches,  too,  as  well  as  works;  he  is  the 
sort  of  teacher  who  is  wanted  and  there  are  others  like 
him  in  England — Anning  Bell,  Hartrick  and  Fletcher, 
who  can  practice  what  they  preach.  Sullivan  has  done 
a number  of  books  in  the  last  twenty  years — a surpris- 
ing number,  but  I think  his  Sartor  Resartus  is  the 
finest,  as  he  has  combined  in  the  drawing  the  methods 
of  the  old  men  with  great  modern  skill.  He  has  not  that  feeling  for  single  line  that 


OF  PEN  DRAWING  IN  ENGLAND 


255 


Beardsley  had — he  did  not  spring  to  fame  like  that 
boy.  The  book  contains  more  variety  of  subjects 
than  any  other  he  has  illustrated.  No  one  has  drawn 
the  nude  in  pen  and  ink  so  well;  no  one  has  rendered 
armor  and  trappings  and  costume  better;  no  one 
knows  the  value  of  blacks  better;  and  above  all  no 
one  understands  better  after  his  lifetime  of  train- 
ing how  to  make  a line  or  a series  of  lines  that  will 
print  with  type  and  become  a part  of  it.  Sullivan 
today  in  his  way — which  is  not  my  way — is  the  most 
distinguished  pen  draughtsman  living  and  every 
bit  of  his  work  is  worth  study.  It  is  a model  of  good  technical  craft  work. 


256  ARTHUR  RACKHAM 


PEN  DRAWING 


RACKHAM  is  a follower  of  Sullivan,  and  I think  he  always  will  be  a follower, 
though  a much  more  prolific  artist.  Yet  with  him  as  with  Sullivan  there  is  one 
book,  which  for  me,  stands  out  above  all  his  work — Peter  Pan.  I have  never  read 
the  story,  and  don’t  know  if  Rackham  has  really  illustrated  it,  but  I do  know  that 
his  Kensington  Gardens  and  the  other  illustrations  are  masterpieces.  Rackham 
begins  his  drawings  in  pen  and  ink  and  then  puts  slight  washes  of  color  on  them, 
but  fundamentally  they  are  pen  drawings.  He  is  also  absolutely  sure  what  colors 
he  should  use,  so  that  they  will  reproduce,  and  works  with  the  photo-engraver  and 
printer  the  right  way,  and  the  only  way  in  which  good  work  can  be  done  or  ever 
will  be  done.  He  experiments  himself  and  experiments  with  the  engravers  and 
printers  till  he  gets  what  he  wants,  the  right  way  an  artist  should  work. 


......  . 


FRED  PEGRAM  AND  MAURICE  GREIFFENHAGEN 

IT  is  extremely  interesting  to  have  a chance  of  comparing  the  handling  of 
virtually  the  same  sort  of  subject  by  such  accomplished  technicians  as  Pe- 
gram  and  Greiffenhagen. 

Both  have  chosen  a single  figure.  Both  these  figures  are  lit  up  by  artificial 
light — here  the  similarity  ends.  The  methods  used  are  absolutely  different,  and 
the  results  obtained  totally  unlike  each  other.  This  expression  of  individuality  is 
just  what  makes  pen  drawing,  and,  in  fact,  all  art,  interesting,  fascinating,  true. 


OF  PEN  DRAWING  IN  ENGLAND  ROBERT  SPENCE  261 

ENGLAND  is  just  now  in  the  throes  of  sham  mediaevalism,  and  but  little  good 
has  come  of  it.  This  St.  Cuthbert  by  R.  Spence  is  the  best  thing  which  I have 
seen.  There  is  better  drawing  in  it  and  more  intelligent  study  and  careful  research 
than  in  any  design  I have  found  since  the  1860  period,  still  there  is  at  present  an 
army  of  almost  brilliant  men  and  women  illustrating.  Much  of  their  work  I should 
like  to  include,  but  there  is  no  space. 


MISS  R.  M.  M.  PITMAN 


MISS  PITMAN’S  sense  of  color  and  line  is  excellent,  her  drawing  of  detail  is 
remarkable,  the  study  of  hands  is  careful.  Then,  too,  she  arranges  her  sub- 
jects well.  This  theme  of  Apollo  is  as  old  as  the  world,  and  yet  her  rendering  of 
it  is  quite  new;  and  while  she  can  draw  with  great  care  and  elaboration  when 
necessary,  she  can  also  suggest  with  style,  directness,  and  simplicity,  as  in  the 
horses,  while  there  is  much  movement  and  lightness  in  the  clouds.  Her  feeling  for 
big  lines,  big  masses  is  good,  and  it  is  not  too  much  like  the  Japanese;  the  way  in 
which  the  subject  has  been  placed  in  the  great  field  of  black  produces  a most 
pleasing  sensation  of  delicacy.  Altogether  Miss  Pitman,  who  is  one  of  the  youngest 
of  English  illustrators,  is  one  of  the  most  interesting;  she  has  something  to  say. 


R.  ANNING  BELL 

OF  all  the  younger  men  who  have  been  more  or  less  influenced  by  the  so- 
called  decorative  revival,  no  one  is  more  interesting  than  Mr.  Bell.  He 
designs  simply,  straightforwardly,  and  well,  suiting  his  style  to  his  subject.  His 
treatment  of  the  landscape  in  La  Belle  Dame  sans  Merci  is,  I think,  as  good  as  it 
can  be,  and  his  spacing  and  arrangement  of  blacks  in  his  drawing  and  in  the  title 
most  masterly.  Mr.  Bell  has  designed  many  book  plates  which  are  altogether 
charming,  while  he  has  made  one  series  of  toy  books  so  well  it  is  a pity  he  does 
not  do  more.  His  drawings  are  also  in  Chapter  XI. 


\J u — 


264  W.  G.  BAXTER  PEN  DRAWING 

ENGLAND,  a few  years  ago,  possessed  a great  comic  draughtsman  without 
ever  knowing  it.'  If  one  heard  Baxter’s  name  mentioned,  it  was  only  with 
the  prefix  vulgar;  for  the  commonplaceness,  the  vulgarity,  or  the  triviality  of  a 
paper  covers  all  its  contributors,  no  matter  what  the  merit  of  their  contributions. 

Baxter  was  allowed  to  die  unknown  and  unrecognized  by  artists,  though  I 
imagine  he  was  the  delight  of  millions. 

Baxter  succeeded  in  accomplishing  a wonderful  performance.  What  share  he 
had  in  the  creation  of  Ally  Sloper , whose  parentage  and  early  life  are  shrouded 
in  mystery,  I shall  not  pretend  to  decide.  He  saw  Sloper  grow  and  develop 
under  his  hands;  he  attracted  an  audience  of  admirers,  and  he  kept  them — a 
most  difficult  feat.  Now  that  Sloper  has  become  an  established  institution  the 
retention  of  his  followers  is  easy  enough.  The  great  mass  of  them,  however,  I 
fear,  know  nothing  of  Baxter. 

Had  Baxter  simply  been  a caricaturist,  I am  afraid  I could  not  have  felt 
much  interest  in  him;  for  I must  admit  that,  as  a general  thing,  I do  not  care 
much  for  this  form  of  expression,  unless  technically  it  has  something  outside  the 
subject  to  commend  it.  The  American  so-called  comics  are  pitiful  and  pathetic, 
therefore  they  appeal  to  the  dregs  of  the  world  dumped  on  this  country. 

Baxter’s  work,  however,  is  strongly  composed  and  excellently  carried  out. 
Nothing  could  be  more  difficult  than  to  bring  in,  week  after  week,  the  same 
characters,  put  them  in  new  situations,  and  make  them  appeal  to  the  people — - 
for  Baxter  was  the  people’s  artist  more  than  any  one  else  has  ever  been.  And  yet 
the  handling  of  the  design  must  appeal  to  a painter. 

In  this  drawing  there  are  but  two  details  which  seem  to  me  out  of  harmony 
with  the  whole.  Towzer  is  a little  amazing  from  his  prominence,  and  so  is  the 
striped  bathing  shirt  in  the  other  corner.  But  it  must  be  remembered  that  every 
detail  in,  not  only  this  drawing,  but  all  Baxter’s  Sloper  work — -and  all  renderings 
of  Sloper — has  a mystic  and  symbolic  meaning  which  it  would  tax  a symbolist 
or  uplift  person  to  fathom,  and  is  only  to  be  comprehended  by  his  constant 
followers. 

This  block  was  printed  in  Ally  Sloper  s Half-Holiday , and  it  printed  well — - 
a paper  which,  probably,  is  not  exactly  considered  by  its  publishers  to  be  a model 
of  the  typographic  art. 

What  a pity  he  died  too  soon  to  drive  Pussy-Foot  Johnson  out  of  England; 
he  could  have  stifled  the  squalls  of  that  prophet.  England  was  English  then. 


266  HUGH  THOMSON,  HERBERT  RAILTON  PEN  DRAWING 


MR.  THOMSON  in  many 
ways  improved  before 
his  death,  especially  in  light- 
ness of  handling,  and  in  under- 
standing of  the  requirements  of 
process.  There  is  a mannerism 
about  his  work,  a souvenir  of 
Caldecott,  whose  work  of  the 
same  sort  Thomson  long  ago 
surpassed;  Caldecott  was  no 
doubt  the  original  man, 
Thomson  the  clever  student; 
a student  of  a tradition  which 
he  improved  on.  Only  when  it 
came  to  Caldecott’s  great  work, 
well,  Thomson  was  not  in  it. 
Railton  retained  his 
popularity  and  remained  where  he  was.  He  had  the  same  merits  that  I praised, 
and  the  same  defects.  He 
had  enormous  influence 
on  contemporary  illustra- 
tion at  one  time,  but  alas, 
he  and  Thomson  are 
scarcely  known  now  to 
artists. 

The  most  interesting 
of  Railton’s  imitators  is 
Holland  Tringham,  who  ) 
is  now  working  in  a style 
for  himself,  but  he,  too, 
has  been  followed  by  end- 
less imitators.  His  draw- 
ing of  Cologne  Cathedral 
is  excellent,  and  though 
it  is  doubtful  if  Mr.  Tring- 
ham ever  saw  Cologne, 
he  has  made  good  use  of 
his  material,  probably  a 
photograph.  The  Cathe- 
dral is  intelligently  drawn, 
and  the  town  is  well 
put  in.  See  Chapter  X. 


£rou.p  on.  /vjrje  bacAj. 


OF  PEN  DRAWING  IN  ENGLAND  KATE  GREENAWAY  267 

MISS  GREENAWAY  did  but  little  work  in  black  and  white;  even  these 
drawings,  published  in  Mavors  Spelling  Books , were  printed  in  brown; 
and,  though  possessing  all  the  characteristics  of  this  most  deservedly  popular 


artist,  seem  to  call  for  a wash  of  color.  I feel  them  to  be  more  like  key  blocks, 
though  good  ones,  for  every  line  has  a meaning  and  is  rightly  put  down.  They 
are  engraved  on  wood  by  Edmund  Evans,  who  has  reproduced  almost  all  her 
work.  Kate  Greenaway  is  interesting,  is  pretty,  is  popular,  but  she  is  not  to  be 
compared  to  Caldecott  and  Crane.  Ruskin  naturally  preferred  her  to  Keene. 


PERCY  KEMP 

MR.  KEMP  has  proved  conclusively  that  sport  is  no  enemy  of  art,  and  he  has 
treated  modern  sport  in  a most  masterly  and  yet  most  amusing  fashion.  In 
many  ways  the  work  is  quite  equal  to  that  of  Caran  D’Ache.  To  find  other 
examples  one  must  mainly  hunt  for  them  in  Cyclings  an  English  paper. 


LAURENCE  HOUSMAN 

MR.  HOUSMAN  cares  for  the  books  he  illustrates,  and  cares  for  the  illustra- 
tions with  which  he  decorates  them.  The  arrangement  of  his  pages  in  The 
Goblin  Market  proves  this;  and  though  at  times  one  may  find  him  too  archaic, 
possibly  striving  too  much  after  the  primitive  woodcut,  still  the  result  is  interest- 
ing. His  little  text  designs,  head  and  tail  pieces,  are  very  charming,  and  one  feels 
that  he  has  studied  Calvert  and  Blake  intelligently,  and  not  blindly. 


SIR  HUBERT  VON  HERKOMER 

A MAN  who  tried  as  many  or  more  forms  of  art  than  nationalities,  but  he 
also  made  some  interesting  drawings,  though  mainly  in  wash,  in  the  early 
numbers  of  the  Graphic.  He  also  attempted  to  pass  off  a number  of  pen  drawings 
reproduced  by  photogravure,  as  some  in  this  book  are  made,  as  etchings — a fraud 
which  was  exposed  in  his  case — though  in  that  of  some  others  it  was  concealed. 
But  etchings  have  a value  and  so  have  pen  drawings;  they  are  two  different  forms 
of  the  Graphic  Arts  and  should  not  be  confused. 


OF  PEN  DRAWING  IN  AMERICA  CHAPTER  VII 

IF  Spain  and  France  were  the  homes  of  pen  drawing,  America  was  its 
adopted  country.  Here  the  art  was  developed  within  the  last  thirty-five 
years.  Previously  American  artists  followed  the  English  pen  drawing  of 
the  sixties  done  for  the  wood-engraver,  and  it  was  only  known  to  them  in 
engravings.  But  they  ceased  to  do  so  as  soon  as  they  saw  the  work  of  Continental 
artists  which  appeared  in  process  reproductions.  The  American  illustrators  of 
that  day  owed  much  to  their  knowledge  and  appreciation  of  good  work  to  Europe — 
and  admitted  it.  Whom  they  took  as  models  depended  much  on  where  they 
studied.  Many  adopted,  as  have  Americans  following  any  branch  of  art,  what 
seemed  best  to  them  in  different  schools.  Though,  like  Englishmen,  we  have  no 
national  art  school,  no  Ecole  des  Beaux-Arts , nor  the  standard  of  such  a school, 
we  had  on  the  other  hand,  what  Englishmen  have  not,  and,  whether  rightly  or 
wrongly,  rarely  seek  to  cultivate,  a wide  appreciation  of  good  art  whenever  we  saw 
it.  That  is  over,  pen  drawing  is  dormant,  ignorance  of  it  rampant.  I hope  this 
book  may  do  something  to  revive  the  old  love  of  it. 

Pen  drawings  for  years  have  been  little  used;  the  newspapers  are  bringing 
them  back,  but  unsalable  oil  paintings  and  unexhibitable  water  colors  are  the  art 
editor’s  ideals  today.  Most  painters,  however,  are  without  knowledge  of  any  of  the 
principles  of  pen  drawing  or  of  art  either.  The  principal  credit  for  the  development 
of  illustration  must  be  given  to  A.  W.  Drake,  the  art  editor  of  The  Century  (then 
Scribner  s Monthly) , who  was  the  first  to  encourage  the  group  of  young  men  who, 
about  1876,  returned  from  several  years’  study  in  Munich  with  the  idea  of  revolu- 
tionizing art  in  America — then  a not  very  difficult  thing  to  do — by  converting  it 
from  the  Hudson  River  School  to  the  school  of  Munich.  Among  the  Munich  men 
were  William  M.  Chase,  Walter  Shirlaw,  Frederick  Dielman,  and  Henry  Muhrman. 
A little  later  Reginald  Birch  returned,  and  though  he  was  heralded  by  less  blowing 
of  trumpets,  he  has  sustained  and  improved  the  reputation  he  made  with  his  first 
drawings.  One  of  the  early  books  he  illustrated,  Little  Lord  Fauntleroy , is  probably 
the  best  thing  he  has  done.  Every  early  number  of  St.  Nicholas  was  made  more 
interesting  by  his  work.  There  is  little  art  interest  in  it  now.  The  infection  quickly 
spread  to  what  was  then  Harper’s  brilliant  shop,  working  in  or  for  which  were 
Edwin  A.  Abbey,  Charles  S.  Reinhart,  Howard  Pyle,  A.  B.  Frost,  W.  T.  Smedley, 
and  W.  A.  Rogers.  The  revolution  was  not  altogether  due  to  the  Munich  students. 
But  they,  together  with  the  Centennial  Exhibition,  showed  Americans,  and  above 
all  those  artists  who  had  not  been  abroad,  what  foreign  standards  of  technique 
were.  But  long  before  this  the  Harpers  issued  Thackeray, GeorgeEliot,  and  Black’s 
novels  and  other  stories  with  their  English  illustrations,  and  this  English  tradi- 
tion was  carried  out  by  Alfred  Fredericks  and  W.  L.  Shepherd  in  that  magazine. 

A little  later,  between  1877  and  1879,  Alfred  Brennan  and  Robert  Blum  began 
to  be  known.  They  commenced  to  study  in  Cincinnati  under  Duveneck  and 
Farny.  The  latter  was  in  many  ways  one  of  the  most  interesting  of  American 
illustrators.  He  had  done  some  good  pen  drawings  for  the  American  Art  Review , 


272  PEN  DRAWING 

and  he  added  to  his  reputation  by  his  studies  of  Indians  in'  The  Century  and 
Harper  j,  and  by  his  illustrations  for  school-books,  of  which  he  made  something 
artistic.  From  Cincinnati,  Blum  and  Brennan  went  to  Philadelphia  where,  like 
many  another  student,  they  received  everything  but  encouragement  from  the 
Academy  professors  to  continue  in  the  way  they  had  marked  out  for  themselves. 
But  they  found  a friend  in  Stephen  J.  Ferris,  who,  though  he  did  not  own  originals, 
had  reproductions  of  the  drawings  of  Fortuny,  Rico,  and  Boldini;  and  through 
these  he  introduced  them  and  his  son,  Gerome  Ferris,  as  he  later  did  me — and  for 
this  I can  never  be  thankful  enough  to  him — to  an  entirely  new  world.  Ferris, 
Peter  and  Thomas  Moran,  J.  D.  Smillie,  Frank  Kirkpatrick  and  several  others 
copied  by  pen  drawings  and  etchings  the  pictures  of  the  Continent  for  books  issued 
by  Gebbie  and  Barrie,  and  thus  did  much  to  make  known  the  work  of  European 
artists  to  Americans.  However,  even  in  the  present  rotten  state  of  international 
artistic  copyright,  it  is  not  likely  that  any  of  these  books  will  be  seen  in  Europe. 

Ferris  was  one  of  the  first  artists  to  practice  etching  on  glass.  Brennan  made 
discoveries  in  process  work  in  which  he  was  aided  by  The  Century's  Art  Depart- 
ment, so  did  Ben  Day.  But  without  the  assistance  ofDe  Vinne,  the  printer  of  The 
Century — a man  who  devoted  his  life  to  artistic  printing  and  succeeded  in  it — 
comparatively  little  advance  would  have  been  made.  A glance  at  the  magazines 
of  1876  will  prove  this. 

In  New  York,  Blum  and  Brennan  found  recognition  for  their  work  both  in  a 
sort  of  memorial  to  Fortuny  and  in  The  Century  (then  Scribner  s).  Here  they  were 
joined  by  F.  H.  Lungren  and  Kenyon  Cox.  From  that  day  their  work  helped  to 
maintain  the  high  position  which  The  Century  and  St.  Nicholas  held  among  illus- 
trated magazines.  How  have  the  mighty  fallen.  Much  has  been  said  about  the 
originality  of  these  artists.  Their  real  originality  consisted  in  their  intelligent 
adaptation  of  the  methods  of  Fortuny,  Rico,  and  Vierge,  of  the  artists  of  Fliegende 
Blatter , and  of  the  draughtsmen  of  Japan,  and  in  their  production,  under  all 
these  many  and  opposing  influences,  of  vigorous  and  charming  pictures  of  their 
own.  Now  we  are  told  by  commercial  school  normal  art  ad.  teachers  we  must 
preserve  our  originality  by  never  looking  at  foreign  work — may  the  Lord  preserve 
the  country  from  such  as  these — but  they  have  it  by  the  throat  or  in  their  pockets. 
Brennan  was  the  master  of  this  school  of  American  pen  draughtsmen.  Alas,  his 
work  is  no  longer  seen;  it  can  be  found  in  The  Century  and  Our  Continent. 

In  1878,  Abbey,  who  was  then  illustrating  Herrick' s Poems , went  to  England, 
and  a knowledge  of  the  country  and  things  he  had  long  cared  for  started  him  on  a 
brilliant  career  and  carried  him  forward  until  he  became  the  greatest  American 
illustrator.  In  England  of  the  eighteenth  century  he  is  as  much  at  home  as  Austin 
Dobson.  One  cannot  but  wish  that  Abbey  had  given  us  a little  more  of  what 
happened  about  him  instead  of  occupying  himself  almost  altogether  with  the 
people  and  things  of  other  days.  His  editions  of  She  Stoops  to  Conquer , Herrick's 
Poems  and  Old  Songs  have  never  been  approached  in  modern  times.  The  Comedies 


OF  AMERICAN  WORK  273 

of  Shakespeare  are  good  but  rather  less  successful  technically  and  are  overladen; 
some  of  the  drawings,  with  architectural  and  archaeological  facts.  All  of  his  work 
was  in  a style  that  delighted  the  purist,  simple  and  straightforward.  Good  also 
was  the  drawing  of  Reinhart,  who,  about  the  same  time  as  Abbey,  went  abroad 
again — having  studied  in  Germany — and,  finding  his  chance  in  illustrating  a trip 
to  Spain,  began  an  equally  brilliant  career.  His  work  was  devoted  to  modern  life. 
He  put  the  novelist’s  characters  on  paper  with  just  that  last  touch  of  realism 
which  an  illustrator  can  give  to  the  author’s  work.  Reinhart  has  shown  the 
world  what  he  thinks  about  American  seashore  resorts  and  the  people  who  go  to 
them.  His  drawings  of  France  and  England,  done  boldly,  directly,  and  vigorously, 
are  life  itself.  Nothing  better  than  the  work  of  these  two  could  be  found  to  study. 

Howard  Pyle  has  drawn  American  life  in  the  colonial  period,  and  in  Robin 
Hood  given  some  beautiful  ideas  of  a country  he  did  not  know.  His  Pepper  and 
Salty  Otto  of  the  Silver  Handy  and  other  children’s  books  are  beautiful  in  their 
simplicity.  He  reconstructed  the  life  of  the  Middle  Ages  better  than  any  one  else 
who  stuck  in  America,  yet  he  was  at  home  in  a modern  ballroom  or  a pirate’s  lair. 
But  after  all,  as  he  admitted  at  the  end,  on  going  to  Europe,  one  should  only 
draw  what  one  has  seen  and  known.  Most  of  his  pupils  can  see  nothing  and  draw 
less,  but  they  get  over  those  difficulties  by  using  paint  and  snap  shots. 

Harry  Fenn  worked  with  equal  facility  in  all  sorts  of  mediums.  If  he  had 
concentrated  his  power  on  something  that  he  made  distinctly  his  own,  as  he  did 
with  wash  in  Picturesque  Americay  he  would  hold  a very  high  place  as  a pen 
draughtsman.  But  he  never  really  did  a great  work  for  himself.  There  is  no  one 
probably  who  had  such  perfect  command  of  his  materials,  and  who,  though  often 
doing  work  which  could  not  have  been  interesting  to  him,  often  got  striking  and 
novel  results.  His  drawings  of  interiors  are  models  of  arrangement  and  knowledge 
of  detail,  and  very  clever  as  a whole;  that  is  the  trouble.  His  work,  as  well  as  its 
reproduction,  vastly  improved  after  he  drew  the  illustrations  for  Picturesque 
America.  If  an  illustrator  wishes  to  leave  a name  he  must  illustrate  a book  or  do 
a series  of  drawings  and  publish  them  as  a volume.  The  illustration  of  short 
stories  or  separate  articles  will  never  make  the  reputation  of  an  illustrator.  He 
must  create  an  important  work. 

A.  B.  Frost  and  W.  A.  Rogers,  who  can  be  either  funny  or  serious,  have  drawn 
some  of  the  funniest  comics  and  telling  cartoons  which  do  not  rival  those  of 
Fliegende  Blatter  in  their  technique  but  do  in  their  humor,  though  very  different; 
and,  like  them,  are  good  because  they  are  understandable  in  all  languages  and 
need  no  label  to  explain  them.  Of  caricatures,  pure  and  simple,  are  to  be  mentioned 
those  of  Thomas  Nast  and  M.  A.  Wolf,  which,  however,  have  no  technical  pre- 
tensions— and  every  paper  now  has  its  cartoonist  all  full  of  pomposity  and  preten- 
sion, but  mostly  devoid  of  any  idea  of  art — we  have  no  men  of  fame.  There  were 
before  we  fell  Mat  Morgan,  F.  Keppler  and  a host  of  other  caricaturists.  The 
cartoonists  and  comic  artists  are  a disgrace  to  the  country.  Among  the  painters 


274  PEN  DRAWING 

was  Mr.  Wyatt  Eaton,  who  drew  the  noble  head  of  Lincoln,  engraved  by  Cole, 
in  The  Century,  and  the  drawings  after  Olin  Warner,  also  published  in  this 
magazine. 

The  only  men  of  any  note  who  still  linger  are  E.  W.  Kemble,  whose  delinea- 
tions of  old  darkies  and  the  wild  west  are  very  lifelike,  but  often  very  careless;  and 
there  was  Frederick  Remington,  whose  horses  in  action  were  wonderfully  spirited 
and  woefully  photographic;  and  F.  Childe  Hassam,  whose  work  has  certainly  a 
character  of  its  own,  but  he  has  taken  to  paint  and  prosperity;  while  C.  D.  Gibson 
has  made  a name  for  himself  in  the  United  States  equal  to  Du  Maurier’s  in 
England,  and  like  Du  Maurier  was  overpowered  by  popularity.  His  society  de- 
signs certainly  won  him  an  international  reputation,  but  his  political  cartoons 
have  greatly  detracted  from  it.  Gibson  could  do  his  girl  but  he  cannot  do  a 
politician,  at  any  rate  don’t  have  an  effect  on  him  which  a cartoonist  should. 
Gibson  was  the  inventor  of  the  He  and  She  style,  the  design  without  a back- 
ground. 

Those  whose  names  I have  mentioned  will  live  long  after  the  present  genera- 
tion, but  for  the  last  twenty  years,  save  Will  Bradley,  Franklin  Booth,  and  Rock- 
well Kent,  scarce  a pen  draughtsman  has  appeared  in  American  art.  We  have  done 
nothing  but  imitate  Forain,  Beardsley,  and  May.  American  illustration  today  is 
the  greatest  in  the  world,  according  to  the  cock-sure  American;  the  most  pitiful 
display  of  commercial  artlessness  to  any  one  who  knows.  Harry  McCarter,  J.  C. 
Coll,  C.  B.  Falls,  and  H.  Devitt  Welsh  have  tried  to  carry  on  tradition. 

George  Wharton  Edwards,  H.  L.  Bridwell,  and  Bertram  Goodhue  have  given 
a decorative  character  to  many  of  the  books  and  magazines  of  America.  Will  H. 
Bradley  was  on  the  high  road  to  fame  when  he  stopped  decorating  books  and 
magazines.  W.  H.  Drake  and  Otto  Bacher  rendered  arms  and  armor  and  decora- 
tive subjects  in  an  excellent  manner;  while  Hughson  Hawley,  F.  DuMond,  and 
Camille  Piton  devoted  themselves  to  architecture.  So  did  H.  L.  Grigg  and  other 
architectural  draughtsmen.  But  there  is  no  more  reason  why  one  should  be  classed 
as  an  “architectural  pen  draughtsman ” than  as  a “commercial  artist.  ” One  is  an 
artist  or  nothing. 

In  looking  at  pen  drawing,  or  rather  all  illustrative  work  in  America,  it  seems 
as  if  the  art  editors  of  the  illustrated  papers  were  trying  to  see  which  one  could  fill 
his  magazine  or  weekly  with  the  worst  and  cheapest  or  most  expensive  and  flam- 
boyant work.  One  cannot  but  fear  that  unless  there  is  another  reaction  like  that 
which  followed  the  Centennial  Exhibition,  art  in  America  will  fall  to  a lower  level 
than  it  has  ever  held  before,  and  it  has  fallen  flat.  Commercialism  and  advertise- 
ment, in  the  hands  of  business  men,  are  throttling  it,  to  fill  their  pockets. 

I have  mentioned  the  artists  who  exist  despite  the  attempts  to  cheapen 
literature  and  art  which  are  only  too  successfully  evident  on  all  sides.  America 
set  up  the  standard  of  good  work;  may  she  preserve  it!  She  is  in  a bad  way  now. 
Here  and  there  good  work  is  being  done,  but  most  is  rot  and  rubbish. 


OF  AMERICAN  WORK  275 

It  is  interesting  to  have  seen,  among  the  many  interesting  things  I have  seen, 
and  to  have  had  the  chance  to  study  as  I have  had,  the  great  International 
Exhibitions  of  the  world  from  1889  in  Paris  to  1915  in  San  Francisco,  and  to  have 
been  officially  connected  with  all  of  them  after  1900.  And  to  note  the  decline  in 
Pen  Drawing  from  the  magnificent  showing  in  1889  when  Abbey,  Vierge,  Menzel, 
and  Keene  won  international  fame  with  their  drawings  in  pen  and  ink.  At  Chicago 
there  was  a fine  show.  There  was  also  good  work,  English  especially,  at  St.  Louis, 
but  most  of  these  men  were  missing.  There  was  little  in  Rome  in  1912  but  very 
many  drawings  by  Greiner  and  Klinger  in  the  great  Graphic  Arts  Exhibition  at 
Leipzig  in  1914.  And  in  San  Francisco  in  1915  there  was  nothing  at  all  but  a 
memorial  exhibit  of  Howard  Pyle  and  not  of  his  best  work.  It  is  the  same,  too,  in 
books  and  magazines;  no  longer  do  you  see,  except  in  the  few  decent  maga- 
zines left  in  this  country,  decent  pen  drawings.  The  reason  is  simple:  pen 
drawing  is  a difficult  art  and  the  modern  draughtsman  avoids,  shirks  difficulties. 
There  are  a few  men  able  to  do  good  work  still  about,  but  the  art  editors  of 
America  are  mostly  too  ignorant  to  know  this,  and  too  mean  to  commission  them. 
Yet  the  art  will  come  into  its  own  again.  I have  seen  and  had  something  to  do 
with  the  revival  of  Lithography,  and  Pen  Drawing  is  by  no  means  dead;  this  book 
is  not  its  monument  but  a herald  of  its  new  birth. 


276  AMERICAN  ILLUSTRATIONS  J.M.N. WHISTLER  PEN  DRAWING 


WHISTLER  only  illustrated  one  book,  Sir  Henry  Thompson’s  Catalogue  of 
Blue  and  White  China , and  of  this  only  two  hundred  copies  were  printed. 
But  the  drawings  in  that  volume  place  him  above  all  American — all  modern  illus- 
trators— and  in  equal  rank  with  the  greatest  Japanese.  These  pots,  vases  and  cups 
are  perfectly  drawn — -drawn  in  outline  only,  in  sepia  or  blue,  with  a brush  used  as 
a pen.  Yet  the  modelling  is  all  there  and  the  light  and  shade  too,  but  there  are  fools 
who  have  said  he  could  not  draw.  It  is  they  who  could  not  see.  There  are  also  a 
few  illustrations  to  the  English  magazines  of  the  sixties  by  him.  This  one  proves 
how  he  carried  out  the  line  of  his  etchings  in  his  pen  work  for  illustration.  And  all 
his  life  he  made  sketches  of  his  paintings  for  exhibition  catalogues  and  to  show  his 
friends.  Besides,  there  are  studies  of  models,  his  drawings  for  the  Butterflies,  and 
head  and  tail  pieces  to  his  brown  paper-covered  books,  book  covers,  and  finally  on 


OF  AMERICAN  WORK 


277 


his  trip  to  Corsica,  just  before  his  death,  he  made  a series  of  little  pen  drawings 
which  are  very  charming;  and  one  of  his  last  elaborate  drawings  was  a portrait  of 
himself  in  pen  and  ink,  another  proof  that  he  tried  every  medium  and  mastered  all. 


278  EDWIN  A.  ABBEY  PEN  DRAWING 

THE  fact  that  I have  devoted  more  space  to  certain  Spaniards,  Frenchmen, 
and  Germans,  and  less  to  some  of  the  equally  well-known  and  important 
Englishmen  and  Americans  deserves  a word  of  explanation.  Too  many  of  Menzel’s 
drawings  could  not  be  shown,  nor  could  I give  too  many  of  Abbey’s.  But  while  it 


is  the  duty  of  every  illustrator  and  every  one  who  cares  for  illustration  to  see  all 
the  work  which  Abbey  produced — and  it  can  be  seen  in  the  pages  of  Harper  s 
Monthly — and  while  every  pen  draughtsman  should  own  the  charming  Herrick, 
the  monumental  She  Stoops  to  Conquer , the  lovely  Old  Songs , and  the  dainty 
Quiet  Life,  which  have  been  reproduced  by  the  best  modern  mechanical  and  wood- 
engravers  and  printed  in  the  most  careful  manner,  it  is  scarcely  possible  for  any 
one  to  obtain  the  original  editions  of  Menzel’s  work,  and  in  many  cases  reproduc- 
tions from  these  original  editions  or  new  editions  have  never  been  published.  Of 
the  Uniforms  of  the  Army  of  Frederick  the  Great  I know  of  no  copy  in  America,  and 
only  one  in  the  British  Museum  in  London,  but  very  likely  there  may  be  a few 
more.  The  case  of  Rico  and  Vierge  is  almost  parallel;  it  is  even  more  difficult  to 
find  the  drawings  of  many  of  the  principal  Spaniards  than  those  of  Menzel.  And 


TJ£  3>-aCGIct  Mia, 

^ — 


Wign  I iye  atovt  thy  vw-i-A, 

JvTi'a,  thij-  iny  twift ; 

f&r  what  °ther  rexf°ii  iff 
Jvf  t®  fh<“-x-  thee  /(O^v  in 
Th"v  wy  f>rettie  caj >tyue  ? 

Jvt  thy  J>°ndfkiie  i>  ny  hearte  T 
’TiV  Ivt  fiIJ<e  that  Mnd<?l"h  th«L 
Jftiap  the  t7n-eAa,  and  th«v  <m  f ree : 
Jjvl  ’tit/1  0therwife  with  m« 

J Pun,  ho'vncl.  and  fa ’£ t hcvnd  fo 
That  fr°tn.  thee  f <\?tin  °t  foe, 

ff  I cocl;  I h°t  fo 

J?  . ftejTicjr. 


THE  BRACELET  TO  JULIA 

Copyright  by  Harper  & Brothers 


OLD  SONGS 


Copyright  by  Harper  & Brothers 


Copyright  by  Harper  & Brothers 


OF  AMERICAN  WORK  283 

the  most  difficult  thing  of  all  is  to  make  the  conceited  prig  of  a student  realize  that 
many  things  have  been  done  far  better  than  he  ever  will  do  them. 

Abbey  began  in  the  wood-engraving  office  of  Van  Ingen  and  Snyder  in  Phila- 
delphia, and,  like  so  many  other  illustrators,  he  learned  the  technical  part  of  his 
work  in  the  daytime  and  studied  art  at  night  under  Isaac  L.  Williams  and  in 
the  Academy  of  Fine  Arts.  But  he  soon  went  to  New  York  and  to  Harper 
Brothers,  where  he  continued  for  several  years  doing  much  work  in  many  different 
mediums  for  their  periodicals.  Though  his  early  work  was  wanting  in  the  grace  and 
refinement  which  later  placed  him  in  a position  without  a rival  among  American 
draughtsmen,  it  was  always  remarkable  for  quiet  humor  and  dainty  charm,  while 
his  marvelous  mastery  of  technique  was  early  apparent.  Although  he  gained  a 
knowledge  of  composition,  a largeness  of  feeling,  and  a completeness  of  expression 
with  his  years  of  practice,  some  of  the  drawings  in  the  Herrick  are  equal  to  his 
later  work.  As  a whole,  however,  his  Old  Songs  is  finer  than  anything  he  did.  His 
drawings  became  so  refined  that  no  process  line-engraving  can  reproduce  every 
line  in  them.  He  selected  for  me  the  Two  Girls  on  the  sofa  from  She  Stoops  to  Conquer , 
and  it  is  interesting  to  compare  this  reproduction,  which  is  better  than  any  made 
from  his  work,  with  the  blocks  and  the  photogravure  plate  in  this  book.  I think  it 
will  at  once  be  seen  that  it  contains  more  of  the  feeling  of  his  drawing  than  any 
of  the  others. 

While  the  superficial  qualities  of  Abbey’s  work  can  be  imitated  by  any  one, 
his  renderings  of  the  seventeenth  and  eighteenth  centuries,  which  he  has  recon- 
structed so  wonderfully,  will  never  be  approached  on  the  lines  he  followed.  His 
position  as  an  illustrator  was  attained  and  maintained  simply  by  treating  illustra- 
tion, as  it  should  be  treated,  as  seriously  as  any  other  branch  of  art.  He  is  remark- 
able not  so  much  for  academic  correctness,  as  is  Menzel,  but  rather  for  his 
truth,  the  sureness  of  his  line  and  his  power  of  expression.  No  illustrator  has 
realized  more  beautiful  women  or  finer  swaggering  gallants,  and  no  one  has  placed 
them  in  more  appropriate  surroundings.  He  made  the  figures  real  for  us  because 
all  the  backgrounds  and  accessories  are  real — drawn  from  nature'. 

Any  one  can  see  how  a drawing  like  this  is  done;  he  made  a more  or  less  rough 
pencil  sketch  on  a sheet  of  very  thin  smooth  paper  mounted,  and  the  completed 
subject,  which  he  has  in  mind  before  he  touches  the  drawing,  gradually  grows 
out  of  the  models  he  has  before  him,  and  nature,  to  which  he  always  refers; 
and  this  is  the  only  way  in  which  great  illustration  can  be  and  should  be  created. 
A vital  strong  line,  an  etcher’s  line,  meant  little  to  him — but  he  was  not  etching; 
he  felt  about  with  a pen,  coaxed  his  forms  out  of  the  paper  with  his  pen,  but  did 
not  put  them  directly  down.  The  book  plate  is  one  of  those  designs  Abbey  was 
forever  making  for  his  friends.  In  this  for  Mr.  Gosse  the  greys  all  over  the  draw- 
ing are  utterly  lost;  no  process  or  engraver  could  render  them — that  is  in  line. 
It  has  already  been  very  well  engraved  on  wood  by  J.  D.  Cooper. 


284 


PEN  DRAWING 


REGINALD  B.  BIRCH 

BIRCH  is  one  of  those  men  who  studied  abroad  and  brought  back  what  they 
learned  to  America.  Now  we  are  told  there  is  nothing  to  study  abroad;  maybe 
not  now,  but  if  we  do  not  know  what  has  been  done,  how  are  we  to  know  what  we 
are  doing — this  don’t  know  and  don’t  care  is  another  of  the  causes  of  our  decay. 
If  we  did  know  what  we  are  we  would  kill  ourselves.  Not  only  does  Birch  know 
how  to  draw  well,  but  he  is  familiar  with  the  life  of  two  continents.  His  drawings 
in  the  beginning  were  Americanized  Schlittgens,  but,  while  he  is  quite  as  clever  as 
Schlittgen,  he  possesses,  I think,  more  grace,  combined  with  wider  knowledge  of 
character.  In  the  concentration  of  blacks,  the  drawing  of  little  Lord  Fauntleroy 
carried  off  to  bed  might  suggest  Vierge,  but  the  footman,  the  two  housemaids, 
and  the  merest  indication  of  the  housekeeper’s  cap  and  one  eye  are  thoroughly 
English,  though  the  little  lord  himself  is  completely  American.  The  handling  in 
this,  as  in  all  his  work,  shows  the  greatest  amount  of  expression  obtained  by  the 
simplest  and  most  direct  means.  He  scarcely  ever  uses  models  in  his  final  work, 
but  makes  his  drawings  from  studies,  tracing  these  onto  Bristol  board,  which  he 
thus  keeps  thoroughly  clean;  consequently,  his  work  reproduces  perfectly  well. 

H.  F.  FARNY 

FARNY’S  drawing  is  an  example  of  what  is  known  among  illustrators  as 
splatter  work,  which  I have  described  in  the  chapter  on  Technical  Sugges- 
tions. But  it  deserves  a place  far  more  because  of  its  suggestion  of  color  and  the 
strong  character  of  the  face;  there  is  a figure,  too,  wrapped  up  in  the  blanket.  The 
decorative  manner  in  which  the  shield  and  bow  are  put  in  and  balance  each  other 
is  good,  and  the  whole  drawing  is  very  well  put  together.  But  I wish  to  call  special 
attention  to  the  way  in  which  the  splatter  tint  is  managed.  The  figure  was  drawn 
and  then  covered  with  a piece  of  paper  to  protect  it  and  the  splattering  done  all 
over  it.  Everything  outside  the  frame  of  the  background  was  then  painted  with 


OF  AMERICAN  WORK 


285 


Chinese  white  and  the  drawing  continued  on  this  ground  when  dry.  The  difference 
in  the  quality  of  the  lines  can  easily  be  seen  in  the  reproduction,  in  which  the 
Messrs.  Dawson  have  been  very  successful  in  keeping  this  difference.  But  in  their 
process  they  do  not  seem  able  to  get  very  fine  single  lines,  such  as  those  in  the  lower 
part  of  the  blanket,  which  are  rotten,  though  there  is  no  rottenness  in  the  drawing. 


286  HOWARD  PYLE 


PEN  DRAWING 


THE  most  superficial  comparison  of  Pyle’s  composition  and  handling  with 
Diirer’s  proves  what  a careful  student  the  nineteenth-century  American  was 
of  the  sixteenth-century  German — too  careful  sometimes.  And  intelligent  study 
of  old  work  is  absolutely  necessary.  That  Pyle  should  do  this  in  telling  and  illus- 
trating a mediaeval  tale  merely  proves  his  desire  to  saturate  himself  with  the  spirit 
of  the  age  in  which  the  scenes  are  laid,  and  to  give  his  work  the  color  and  character 
of  the  biggest  man  of  that  age.  The  figure  of  Time,  in  the  drawing  from  the  Wonder 
Clock , is  Diireresque.  But  the  figure  of  the  small  boy  piping,  although  the  lines  of 


OF  AMERICAN  WORK  287 

shadow  are  drawn  in  the  manner  of  the  old  Germans,  is  not  German  at  all  but 
nineteenth-century  American;  and  this  is  true  of  the  tree  in  blossom  and  the  stony 


^ ruin  Harper’s  M-tgaziue.  Copyright,  1893,  by  Harper  & Brothers 


foreground,  though  it,  too,  is  founded  on  Diirer.  They  are  better  than  anything  in 
Diirer  for  us  to  study  from,  for  the  simple  reason  that  we  know  more  about  land- 
scape than  the  Germans  of  Durer’s  time — in  a way.  This  fashion  of  adapting  the 
methods  of  an  earlier  generation  to  our  own  requirements  is  exactly  what  the  old 
men  did,  and  it  is  only  by  so  doing  art  advances.  It  is  so  easy  to  invent  out  of 
one’s  head — so  difficult  to  draw  from  nature.  Pyle  has  preserved  much  that  was 
good  in  the  old  work,  and  yet  kept  pace  with  modern  technical  and  mechanical 
developments. 


From  Harper’s  Magazine 


Copyright,  1890,  by  Harper  a Brothers. 


288 


PEN  DRAWING 

Among  the  books  by  Howard  Pyle,  which  every  student  should  know,  are 
Robin  Hood , Pepper  and  Salt , Otto  of  the  Silver  Hand , and  the  Wonder  Clock.  Many 
of  the  drawings  are  wanting  to  a certain  extent  in  local  color,  a want  due  to  the 
fact  that  Pyle  never  visited  Europe  till  just  before  his  death.  But  in  technique 
they  are  better  than  anything  that  has  been  done  in  America.  They  are  carried 
out  with  a thoroughness  and  completeness  which  give  them  originality,  even 
though  they  preserve  all  the  feeling  of  the  old  work.  They  are  as  good  as  deco- 
ration as  Abbey  and  Parsons’  realistic  revivals,  and  would  be  better  had  Pyle 
known  Europe  as  well.  Near  his  death  he  made  a pathetic  confession  that 
if  he  had  only  seen  and  drawn  as  Abbey  did,  some  of  the  things  he  got  from 
books,  prints  and  photographs,  without  understanding,  his  work  would  have 
been  far  better.  Some  of  his  pupils  have  scarce  his  honesty,  little  of  his  ability,  but 
have  absorbed  much  of  his  tricks  and  faking  and  cribbing.  He  could  disguise 
this  in  his  work.  The  machinery  and  the  ghosts  loom  large  in  that  of  his  followers. 
Maxfield  Parrish  is  one  of  his  best-known  pupils,  one  of  the  most  popular  in 
America.  He  uses  splatter  brushes  and  air  brushes — or  is  said  to — magnificently. 


1 s 


From  Harper's  Magazine. — Copyright,  1890,  by  Harper  & Brothers. 


ARTHUR  B.  FROST,  FREDERICK  REMINGTON,  E.  W.  KEMBLE  289 

1 GROUP  these  three  men  together,  for  not  only  is  there  great  similarity  in  their 
methods,  but  they  are  most  distinctly  American  illustrators.  On  the  one  hand, 
their  work  does  not  possess  much  of  that  supreme  skill  which  is  so  characteristic 
of  the  Spaniards;  nor,  on  the  other  hand,  has  it  any  of  the  slovenliness  which  dis- 
figures so  much  modern  work  of  exactly  the  same  sort. 

In  the  three  drawings  you  see  that  models  have  been  used  for  all  the  figures, 
though  Remington’s  has  the  photographic  look  which  mars  all  his  work.  It  does 
not  matter  how  an  artist  works,  but  he  should  conceal  his  machinery.  But  there  is 
no  reason  why  a man  should  not  use  photographs,  if  from  them  he  can  get  good 
results.  But  photography  killed  Remington.  Most  American  illustrators  now  de- 
pend on  snap  shots  and  so  never  become  artists.  Many  are  not  even  good  pho- 
tographers but  nearly  all  are  superb  poseurs. 

The  style  of  Frost’s  work  is,  I fancy,  that  which  the  men  of  Fred  Walker’s 
time  would  have  used,  had  they  been  transported  to  an  American  town  and  taken 
enough  interest  in  it  to  make  a drawing  of  a subject  like  that  of  Frost’s.  Of  course 
there  is  an  exaggeration  in  all  the  figures;  they  are  not  so  real  as  Remington’s,  but 
then  Frost’s  indication  of  the  men’s  clothes  is  much  more  true  and  carefully 
studied  than  Remington’s,  while  Kemble,  to  a great  extent,  has  ignored  all  details 
and  only  attempts  the  large  mass  and  long  folds  of  the  women’s  simple  garments. 
But  in  none  of  them  is  there  any  of  that  everlasting  machine-made  cross-hatch, 
or  slovenly  scrawling  of  the  clumsy  imitators  of  Forain’s  inimitable  lines.  Why  do 
little  people  always  attempt  the  unattainable? 

Each  of  these  drawings  gives  to  an  American  a characteristic  rendering  of 
country  life;  Frost’s  of  the  Middle  States  or  the  northern  part  of  the  Southern, 
Kemble’sof  the  extreme  South,  and  Remington’s  of  the  FarWest.  All  will  fallunder 
the  critic’s  ban  because  they  are  not  pretty;  but  they  are  more  than  this,  they  are 
real,  and  realism  is  one  quality  lacking  in  most  American  illustrations.  In  Frost’s 
drawings  I do  not  think  there  is  a line  which  could  be  omitted  or  anything  that 
could  be  changed  to  its  advantage.  In  all  three,  the  reserving  of  blacks  is  well 
managed.  In  Remington’s  there  is  a scrawl  of  meaningless  lines  over  the  grass 
which  is  found  in  nearly  all  his  work;  the  drawing  is  not  so  well  thought  out  as 
Frost’s,  and  it  has  a mechanical  look  which  is  much  more  evident  in  this  repro- 
duction than  ordinarily,  because  his  drawings  are  usually  reduced  to  a much 
smaller  size.  The  intelligent  critic  will,  of  course,  ask  what  has  become  of  the  cow’s 
other  horn.  My  only  answer  is  that  I am  sure  I do  not  know.  For  a man  with  such 
knowledge  of  animal  anatomy  this  omission  is  rather  curious.  His  drawing  of  the 
men’s  hands  is  not  as  careful  as  Frost’s  or  Kemble’s. 

Kemble’s  design  contains  more  of  his  good  qualities  and  less  of  his  faults  than 
almost  any  which  I have  seen.  There  is  a very  striking  difference  in  the  rendering 
of  the  old  Congo  woman  with  her  brilliant,  shiny,  jet-black  face — though  in  the 
drawing  of  it,  by  the  way,  there  is  not  a bit  of  black — and  the  tall,  statuesque 
mulatto  who  stands  in  front  of  her;  the  action  of  this  figure  is  remarkably  fine. 


ri.BPfirohj 


From  Harper’s  Magazine.— Copyright,  1881,  by  Harper  & Brothers 


294 


PEN  DRAWING 

Rendering  of  types  is  Kemble’s  strong  point,  and  his  weak  one  is  carelessness  in 
detail;  a carelessness  which  at  its  worst  is  positively  aggressive.  The  mass  of  wire- 
work  to  the  left  of  the  figures  is  thoroughly  bad.  It  is  intended  for  bushes  or  grass, 
but,  as  line-work,  is  meaningless.  The  dress  of  the  old  woman  is  also  careless  when 
compared  with  the  delightful  drawing  in  the  other  woman’s  gown.  The  sugar-pans 
and  the  brick  oven  are  also  careless,  and  the  smoke  is  really  childish.  I criticise 
Kemble  because  he  is  such  a remarkably  clever  draughtsman,  that  is  the  American 
trouble,  and  yet  there  would  be  no  use  for  students  to. copy  imperfections  which 
with  him  are  but  the  result  of  carelessness.  With  far  less  work  he  could  in  these 
details  get  a far  better  effect.  Compare  the  tree  trunk  in  Frost’s  drawing  with  the 
bushes  in  Kemble’s  and  what  I mean  will  at  once  be  seen — or  should  be. 

These  drawings  have  been  reproduced  by  Louis  Chefdeville,  and,  like  all  his 
reproductions,  are  better  than  the  work  of  any  other  reproductive  engraver  today. 
He  has  not  only  reproduced  the  drawings  excellently  but  he  has  kept  the  quality 
of  the  line  which  each  man  used.  The  reason  of  this  is  not  difficult  to  find.  Chefde- 
ville was  an  artist  and  reproduced  drawings  in  an  artistic  manner;  that  is,  he 
sought  to  reproduce  the  character  of  the  draughtsman’s  work.  His  rendering  of 
separate  lines  is  infinitely  better  than  that  of  any  other  photo-engraver. 

ARTHUR  B.  FROST— CARICATURES 

THESE  are  not  models  of  technique — Caran  D’Ache’s  outline  is  very  much 
better.  They  are  comic  drawings  which  appeal  to  the  whole  world  without 
any  label  to  explain  them.  The  only  title  tagged  on  to  them  was  Our  Cat  Eats  Rat 
Poison,  which  to  any  one  with  the  slightest  sense  of  humor  or  drawing  is  all- 
sufficient.  To  compare  them  with  the  drivel  which  has  to  be  explained  with  vulgar 
lettering  in  every  newspaper  in  the  land  is  to  note  how  this  country  has  degener- 
ated since  it  became  uplifted  and  educated.  Frost  is  the  only  comic  artist  we  have 
or  have  had;  the  rest  are  mostly  a disgrace  even  to  this  land  of  artless,  childish 
vulgarians.  Frost  is  still  living,  but  art  editors  are  dead. 

ALFRED  BRENNAN 

BRENNAN’S  work  is  brilliant.  Much  of  it  is  in  imitation  of  the  Fortuny 
manner  yet  rightly  carrying  on  tradition.  His  skill  is  shown  in  his  concentra- 
tion of  blacks,  and  in  this  drawing  in  his  rendering  of  the  Chinese  weapons,  about 
which  he  probably  knows  nothing  except  what  he  has  learned  from  museums;  he 
here  impresses  us  with  the  idea  of  a drawing  in  full  tone,  though  it  is  not  a toned 
drawing  at  all;  he  breaks  up  great  spaces  of  light  or  dark  by  either  pure  black  or 
pure  white;  in  fact,  every  line  and  touch  is  a triumph  of  technical  skill  combined 
with  a thorough  command  of  his  materials  and  resources. 

The  original  was  a huge  drawing — a drawing  which  took  as  much  thought 
and  time  in  execution  and  as  much  knowledge  of  composition  as  would  be  required 
to  make  a water-color  or  oil  of  the  same  size,  and  there  is  scarcely  a painter  who 


296 


PEN  DRAWING 


From  Harper’s  Magazine.  Copyright,  1887,  by  Harper  & Brothers. 


has  the  technical  ability  to  produce  such  a masterpiece.  Because  this  man  chooses 
to  illustrate,  his  work,  which  the  critic  does  not  understand,  is  dismissed  with  a 
line.  Had  he  made  a painting  of  the  same  subject  with  the  same  amount  of  work 
in  it  he  would  have  been  known  all  over  the  world.  As  it  is,  he  is  only  an  illustra- 
tor, but  for  pure  brilliancy  there  is  no  one  who  has  ever  surpassed  him. 

In  the  drawing  of  a stairway,  which  is  a study  in  beautiful  line,  the  lines  have 
all  the  character,  the  meaning,  and  the  value  of  the  best  etched  line  Whistler  ever 
did.  What  could  be  better  as  a model  for  the  architectural  student  than  this?  if, 
indeed,  the  student  could  ever  learn  to  work  like  Brennan.  The  drawing  is  full  of 
interest,  vitality,  and  distinction.  There  is  nothing  stupid  and  nothing  photo- 
graphic, and  yet  it  was  made  from  a photograph. 

Brennan’s  decorative  work  is  also  filled  with  individuality  and  character,  and 


OF  AMERICAN  WORK  297 

though  if  much  of  it  is  incomprehensible,  it  is  always  striking  and  often  beautiful; 
it  is  taken  from  any  motive  which  he  may  happen  to  find  around  him,  but  instead 
of  making  a mere  copy,  he  adapts  his  motive  to  his  wishes  and  requirements.  He 
has  illustrated  several  children’s  books  and  nursery  rhymes,  and  these,  when  at 
their  best,  are,  like  his  other  work,  technically  unapproachable.  Of  course,  I know 
if  it  had  not  been  for  the  influence  of  Fortuny,  Casanova,  and  Vierge,  and  the 
Japanese,  there  might  not  have  been  a Brennan;  but  his  power  is  that  of  filling  his 
drawing  with  all  sorts  of  opposing  influences  and  producing  a uniform  whole  of  his 
own.  There  is  probably  no  one  living  who  has  a greater  knowledge  of  the  require- 
ments and  limitations  and  possibilities  of  process.  With  the  thoroughness  of  the 
Middle  Age  craftsman,  he  has  studied  the  subject  in  a workshop.  Brennan  is  still 
with  us  but  his  work  is  rarely  seen.  We  have  photos,  so  why  should  we  have  art? 
But  it  is  a scandal  that  American  art  editors  do  not  make  this  artist  work,  only 
some  xMnerican  art  editors  are  a scandal  today. 

FERNAND  H.  LUNGREN 

LUNGREN  is  the  third  of  the  quartette  of  Americans  of  whom  I have  spoken 
as  followers  of  Fortuny — Blum,  Brennan,  and  Cox  were  the  others,  but  Cox 
quickly  gave  way  to  classicism.  Lungren  though  with  them  was  at  first  very  much 
under  the  influence  of  Fortuny,  Vierge,  and  Rico,  and  though  his  work  now  has 
many  of  their  qualities,  has  added  to  it,  not  only  by  his  study  abroad  in  Paris, 
but  by  uniting  to  the  brilliancy  of  these  Spaniards  and  of  Frenchmen  like  Jean 
Beraud  some  of  the  methods  of  Germans  like  Schlittgen.  The  consequence  is  that 
while  his  illustrations  are  in  many  ways  suggestive  of  that  of  many  men  they  are 
at  the  same  time  his  own. 

What  is  to  be  specially  noted  in  Lungren’s  work  is  the  great  power  of  expres- 
sion conveyed  with  very  few  and  simple  lines,  as  well  as  the  striking  use  of  solid 
blacks,  and  the  beauty  of  every  line  he  uses.  For  example,  in  the  accompanying 
drawing  he  expresses  a great  field  with  no  work  at  all,  excepting  in  exactly  the 
right  place,  that  is  in  the  foreground,  where  he  shows  the  grass  and  the  weeds  just 
where  they  would  be  seen,  and  the  modelling  of  the  ground  is  given  just  in  the 
right  place  to  connect  the  two  figures  together  in  a good  but  not  obtrusive  manner. 
Notice,  too,  the  use  of  pure  blacks  in  the  stockings  and  shoes  of  both  children  and 
in  the  sash  and  ribbons  of  one,  and  how  carefully  the  folds  of  the  drapery  are 
rendered;  the  faces  of  the  little  girls,  though  perhaps  not  very  interesting,  are 
pretty  and  pleasing.  The  house  among  the  trees  is  put  in  so  that  every  line  tells, 
while  the  distant  wood  has  been  drawn  with  chalk  or  crayon.  The  drawing  itself 
was  on  smooth  paper,  but,  as  I have  explained,  lithographic  chalk  not  only  comes 
by  process,  but  holds  well  on  this  paper,  which,  though  almost  smooth,  has  a 
slight  grain  in  the  surface. 

This  drawing  was  merely  an  illustration  for  a child’s  story  in  St.  Nicholas , 
and  yet  it  is  worth  more  study  and  attention — and  if  anything  but  an 


OF  AMERICAN  WORK  299 

illustration  would  receive  more — than  a vast  mass  of  the  pictures  painted  every 
year. 

ROBERT  BLUM 

FORTUNY  lived  a little  too  soon  for  the  process  work  by  which  many  of  his 
followers  have  profited.  Among  them  all,  there  has  been  no  more  careful  and 
at  the  same  time  more  brilliant  student  than  Blum.  This  drawing  was  done  for 
reproduction,  while  Fortuny’s  were  not.  It  therefore  possesses  many  qualities  of 
value  to  the  draughtsman  which  are  absent 
from  the  work  of  his  master.  In  almost  all 
Fortuny’s  work  there  are  smudges  and 
blots,  and  though  these  are  right,  they  can- 
not be  depended  upon  in  any  process  repro- 
duction. The  Fabres  drawing,  however,  is  a 
most  successful  exception.  This  pen  draw- 
ing of  Joe  Jefferson  will  come  as  nearly 
right  as  photo-engraving  and  printing  can 
make  it.  It  would  be  impossible  to  render 
the  face  more  delicately  than  Blum  has. 

Notice  how  he  gets  the  color  of  the  hair 
darker  than  the  face  by  means  of  the  fine 
lines  under  the  modelling  of  it,  and  how  he 
gets  the  tone  of  the  face  lower  than  the 
cravat  and  shirt  front;  and  how  well  the 
legs  are  expressed,  and  every  line  goes  to 
show  the  form  that  is  inside  the  breeches.  I 
cannot  help  feeling  that  the  boots  are  some- 
what too  black,  but  this  black  is  used  to 
emphasize  and  bring  out  the  delicate  lights 
all  the  way  from  his  feet  to  the  under  side 
of  his  hat.  This  is  a contradiction  to  my 
advice  not  to  use  too  many  blacks;  but  at 
the  same  time  it  is  a proof  of  my  assertion 
that  a man  who  is  a master  of  his  art  can  do 
what  he  chooses.  The  lines  which  surround 
the  drawing  and  which  in  most  men’s  hands 

would  be  a meaningless  affectation  of  Fortuny’s  searching  for  his  forms  and 
modelling,  although  they  are  with  Blum  to  a certain  extent  an  affectation — and 
I doubt  if  he  would  use  them  again — serve  to  bring  the  drawing  out  of  the  paper 
and  to  connect  the  black  of  the  coat  with  the  white  of  the  paper  without  producing 
a hard,  crude  line  around  it.  Take  these  apparently  careless  lines  away  and 
you  will  at  once  discover  that  the  drawing  becomes  hard  and  loses  much  in 


300 


PEN  DRAWING 

refinement.  And  just  here  I want  to  express  another  opinion.  This  drawing  may 
have  been  made  from  Joe  Jefferson  on  the  stage,  or  studied  in  the  studio,  or  done 
from  a photograph.  The  fact  that  one  cannot  tell  how  it  was  done  is  a proof  of 


its  excellence.  If  a man  is  compelled  to  work  from  a photograph — and  there  are 
very  few  who  can  without  the  fact  being  known  at  once,  for  it  is  much  more  difficult 
to  make  a picture  out  of  a photograph  than  one  from  nature — it  is  nobody’s 
business  how  the  work  is  done,  nor  would  the  use  of  a photograph  detract  from 
the  artistic  value  of  the  drawing  if  an  artistic  result  is  obtained.  It  is  only  when 


302 


PEN  DRAWING 

a duffer  who  cannot  work  except  from  or  over  a snap  shot,  or  other  photographic 
prop,  calls  himsell  an  artist,  and  considers  himself  a most  superior  person,  though 
the  rest  of  the  world  may  know  he  is  a humbug. 

Some  of  Blum’s  drawings  for  Carrere  and  Hastings’  descriptive  pamphlet  on 
the  Ponce  de  Leon  Hotel  in  St.  Augustine,  Florida,  were  notable  artistic  pieces  of 
architectural  drawing  and  hotel  advertising  combined.  It  is  a book  which  should 
be  in  the  hand  of  every  architectural  draughtsman.  The  drawings,  having  been 
made  in  the  southern  states  of  America,  are  rightly  based  on  the  work  of  Rico. 
There  is  not  an  architectural  draughtsman  in  the  world  who  could  equal,  or  even 
come  anywhere  near  them.  Blum  has  given  all  the  architectural  details  with  the 
utmost  fidelity,  and  to  them  he  has  added  an  artistic  rendering  while  he  has 
avoided  all  stupid  results  by  means  of  his  delicate  play  of  light  and  shade.  Interest 
has  been  added  by  carefully-drawn  figures,  and  the  trees  and  flowers  are  put  in 
with  a knowledge  of  their  form  in  nature  and  not  evolved  from  the  imagination 
of  the  architectural  T square  brain.  Blum’s  last  pen  drawings  were  made  in 
Japan — a promise  of  further  progress— then  he  died.  They  were  printed  in 
Scribner  s.  If  one  wishes  to  know  how  much  we  have  degenerated,  compare  Blum’s 
Japanese  pen  drawings  with  those  by  an  imitator  which  have  lately  appeared  in 
the  same  magazine.  Maybe  the  latter  never  heard  of  Blum. 

ARCHITECTURAL  ILLUSTRATIONS 

FOLLOWING  that  pioneer  who  might  almost  be  said  to  have  invented  the 
artistic  illustration  of  architecture  in  America,  Harry  Fenn,  are  a number  of 
much  younger  men  who  have  devoted  themselves  almost  entirely  to  drawing 
architecture.  Among  them  are  C.  Graham,  Hughson  Hawley,  H.  D.  Nichols,  and 
F.  du  Mond.  But  few  of  them  are  architects;  all  of  them  have  studied  art,  however. 


From  Harper’s  Magazine. 


Copyright,  1891,  by  Harper  & Brothers. 


304 


PEN  DRAWING 

and  recognize  that  to  draw  a building  well,  it  is  not  absolutely  necessary  to  be  able 
to  put  it  up.  They  seize  just  the  point  that  most  architectural  draughtsmen  fail  to 
grasp — that  one  should  give  the  most  impressive  view  of  a building,  not  the  most 


4Nlityk*M> 


commonplace;  that  one  should  give  the  building  its  due  relation  to  the  others 
which  surround  it,  or  to  the  landscape  in  which  it  is  placed.  And  this  is  the  reason 
why  most  architectural  draughtsmen’s  work  is  so  uninteresting  to  the  artist.  Either 
the  landscape  is  absurdly  drawn,  or  else  it  is  out  of  relation  or  scale,  and  cut  about 
so  as  to  show  the  house  to  what  is  supposed  to  be  the  best  advantage.  In  few  of 
these  drawings  buildings,  landscape,  and  details  really  are  shown  in  an  interest- 
ing fashion,  simply  because  they  are  rammed  down  our  throats.  C.  E.  Mallows, 
who  worked  with  me,  as  Mr.  Cooper  worked  with  Abbey  and  Tadema  on  perspec- 
tives, was  the  best  architectural  draughtsman  in  England.  But  that  was  because  he 
intelligently  studied  the  men  who  are  represented  in  this  book,  and  nature,  too. 


306 


PEN  DRAWING 

I have  tried  to  do  something  also  in  the  drawing  of  architecture  among  other 
things,  and  some  ten  years  spent  among  the  greatest  masterpieces  of  that  art  gave 
me  some  idea  of  it.  I am  not  going  to  try  to  place  myself  as  an  artist,  but  it  might 


From  Harper’s  Magazine. — Copyright,  1891,  bv  Harper  & Bruthsrs. 


be  of  use  to  tell  how  this  work  was  done;  in  every  case,  when  possible,  the  draw- 
ings were  made  on  the  spot.  I have  tried  assistants,  and  one,  C.  E.  Mallows,  won 
fame  in  England.  I used  photographs  and  the  camera  lucida;  but  it  dawned 
on  me  soon  that  if  I wanted  to  do  good  work  I must  do  it  all  myself,  and  do  it  all 
from  nature,  and  that  is  the  way  in  which  all  my  work  for  the  last  years  of  my 
many  wanderings  has  been  done.  Now  that  my  work  in  Europe  I fear  is  finish- 
ed— for  there  is  nothing  the  reformer  fears  like  an  artist  drawing  from  nature — 
that  marks  him  for  a spy.  I look  back  upon  long  years  of  happy,  hard  work;  not 
for  cash  but  because  I loved  it.  Yet  the  workman  is  worthy  of  his  hire,  and  I 


307 


OF  AMERICAN  WORK 
have  not  been  unhired,  though  the  world,  my  world,  is  dead.  Yet  I live  on,  but 
in  the  past,  for  there  is  no  future  worth  looking  forward  to — at  any  rate  in  this 
land.  But  to  tell  how  I made  my  drawings  is  better.  I gave  up  all  help  and  aids, 


I forgot  perspective,  and  like  other  discoverers,  discovered  that  the  perspective 
I invented  was  known  to  the  Italian  primitives  and  used  by  Diirer.  It  is  simply 
this,  they  never  used  any  side  vanishing  lines.  We  have  become  accurate,  we  think, 
but  we  do  not  give  the  bigness  the  feeling  of  things  as  the  old  men  did.  You  can- 
not make  a skyscraper  dignified  if  you  make  it  by  the  laws  of  modern  perspec- 
tive; you  must  forget  them. 

My  drawings  of  the  French  Cathedrals,  now  the  property  of  the  French 
Government  and  hidden  away  in  the  Luxembourg  cellars,  were  all  done  from  nature 
on  the  spot;  mostly  they  were  inked  in  over  pencil  drawings,  but  now  I am  trying 
to  work  straight  away  with  a pen,  using  wash  at  times  trying  to  get  freedom 
from  the  study  of  a lifetime.  Who  is  there  among  the  pen  draughtsmen  in  this 
country  today?  Look  at  one  sort;  Gibson’s  mantle  has  not  fallen  on  the  shoulders 
of  his  imitators  but  been  cut  up  and  divided  between  them  by  a blatant  gang 
whose  cheek  is  as  brazen  as  their  drawing  is  bad. 


308 


PEN  DRAWING 

Who  else?  Mr.  Franklin  Booth.  Who  else  is  there?  Mr.  H.  D.  Welsh  did  a 
series  of  Old  Philadelphia  Houses,  with  color  added,  that  were  good,  but  as  for 
the  rest — well,  they  are  everywhere.  But  where  is  art?  Welsh’s  work  is  in  the 
Newspaper  Chapter. 


There  is,  however,  one  comment  to  be  made:  the  fault  is  that  of  the  man 
who  invents  a method  which  is  so  easy  to  steal  and  imitate  that  it  can  be  done  by 
the  thieves  and  pilferers  who  litter  the  place  and  are  encouraged  by  artless 
and  conscienceless  art  editors.  I,  too,  have  had  the  sincere  flattery  of  thieving 
imitators,  many  of  them  and  in  many  lands. 

L.  RASMUSSEN 

THE  amazing  care  for  the  rendering  of  detail  shown  by  some  men,  who  have 
devoted  themselves  to  the  drawing  of  architecture,  has  never  been  more 
elaborately  exhibited  than  in  this  drawing  of  Sullivan’s  Golden  Doorway  at 
Chicago,  the  great  feature  of  the  Exhibition.  And  though  the  whole  effect  comes 
near  being  spoiled  by  the  absolutely  uninteresting,  unintelligent  sky  and  fore- 
ground, the  doorway  is  worth  looking  at,  even  if  one  is  lost  in  astonishment  at  the 


fit 

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38 

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lt« 


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3 raaaifll 
I BLi^Bl 
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IkeijB 


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310  PEN  DRAWING 

labor  which  goes  to  make  it.  The  effect  of  light  is  well  rendered;  and  the  way  in 
which  the  detail  is  expressed  by  shadows  only  is  most  interesting.  It  is  a very 
stupid  drawing  but  very  wonderful. 


HARRY  FENN 

IT  is  always  possible  to  render  architecture  picturesquely,  even  though  it  may 
be  the  latest  American  device  in  Queen  Anne  or  Neo-Grec,  if  one  only  knows  how; 
and  Harry  Fenn  did.  He  not  merely  made  every  line  tell  something,  but  he  uses  a 
different  line  for  each  substance.  Notice  how  he  gets  the  effect  of  the  stairway  with 
one  line,  the  light  wood  of  the  hall  with  another,  and  how  well  the  old  chair  and 
chest,  drawn  with  still  another,  tell  against  it.  The  rug  and  the  hangings  are  quite 
differently  handled,  while  the  fireplace  in  the  dining-room  beyond  is  in  line  and 
splatter  work,  the  rest  of  the  room  in  outline,  which  again  varies  the  treatment. 
There  is  not  such  brilliant  and  strong  color  in  this  drawing  as  in  many  of  Fenn’s, 
but  it  is  an  excellent  example  of  picturesque  working  out  of  a new,  and  therefore 
somewhat  stiff  interior.  The  use  of  line  to  express,  not  only  surfaces,  but  the 
construction  of  a building  in  the  best  and  simplest  manner.  Any  number  of  Fenn’s 
drawings  can  be  found  in  the  American  periodicals,  especially  in  The  Century. 
The  print  is  from  the  Magazine  of  Art.  Alas,  this  exists  no  longer.  Fenn  is  dead, 
too,  and  so  are  the  American  and  English  magazines  mostly,  artistically. 


OF  AMERICAN  WORK  FRANKLIN  BOOTH 


311 


MR.  BOOTH  has  taken  full  advantage  of  the  flexibility  and  variety  of  the  pen 
line,  especially  in  the  large  design  of  the  big  trees  in  which  he  has  got  the 
strength  and  bigness  of  the  tree  trunks  contrasted  with  the  delicacy  and  distance 
of  the  skv  in  a notable  fashion;  and  in  the  study  of  floating  figures  he  has  got 


Courtesy  Pictorial  Review 


From  a Magazine  Illustration  by  Franklin  Booth 


< 


314  h.  b.  McCarter  will  h.  bradley 


PEN  DRAWING 


\a/aVE  , WOODS  ,YOVIV  BLOSSOAV5-ALL- 
..  Grim-  DEATH- IS -DEAD  ! 

Ye -weeping- fvneral-trees, 
Lift- vp-yovr.- head! 

Chbjst-is-risen! 


HB.  McCARTER  and  Will  H.  Bradley1  evolved  curiously  interesting  styles; 

« but  besides  these  two  there  seems  to  be  scarcely  any  one  with  anything 
to  say  for  himself,  though  there  are  hordes  ready  to  crib  and  steal  and  imitate 
every  original  man’s  ideas  instead  of  trying  to  look  at  nature  or  life  for  them- 
selves. One  of  these  artists  has  taken  to  the  movies,  the  other  to  paint. 

Everything  is  illustrated,  yet  one  now  looks  to  the  advertisement  pages  of  the 

1 For  Mr.  Bradley’s  work  see  Chapter  XI. 


OF  AMERICAN  WORK 


315 


30 


(SMS , SEE  1 THE  - GRAVES  • ARE  - GREEN 
IT- IS- LIGHT;  LET'S -GO 
WHERE  ■ OVFL  LOVED  • ONES  ■ REST 
In -hope -below!  . 

Christ-is-risen! 


daily  papers  and  weekly  journals  for  the  . best  drawings,  almost  the  only  ones,  for 
the  photograph  and  oil  painting  has  the  country  by  the  throat.  Still  there  never  was 
such  a chance  as  there  is  at  present  for  illustration;  will  the  pen  draughtsmen  take 
true  advantage  of  it?  Rather  will  the  ad  men,  the  commercial  men,  the  business 
men,  allow  them  to  do  anything  ? They  control  the  present;  the  future  is  black.  It 
is,  however,  in  the  hope  of  showing  what  might  be  done  that  this  book  appears. 


316  WYATT  EATON 


PEN  DRAWING 


NOT  only  is  the  medallion  a good  example  of  directness  and  freedom  of  line, 
with  scarcely  any  cross-hatching  and  certainly  no  mechanical  work,  of  beauty 
of  modelling  and  suggestion  of  various  surfaces,  and  of  a man’s  individuality  in 
his  drawing,  but  it  is  a marvelous  example  of  mechanical  reproduction,  probably 
the  best  in  the  book.  It  was  engraved  by  the  C.  L.  Wright  Gravure  Company  of 
New  York.  Their  aim  is  not,  as  I have  found  with  too  many  other  mechanical 
engravers,  to  succumb  before  the  slightest  difficulty,  but,  to  use  their  own  words, 
“to  reach  the  acme  of  perfection  in  reproducing  drawings,”  and  “to  give  an 
absolute  facsimile  of  the  artist’s  work.”  It  is  only  by  such  endeavors  that  blocks 
like  this  can  be  produced,  that  photo-engraving  can  advance  at  all.  Now  photo- 
engraving in  this  country  is  the  prey  of  the  unions  and  is  mostly  perfectly  rotten. 
The  making  of  difficulties,  not  triumphing  over  them,  are  our  present  ideals.  The 
Lincoln  is  a masterpiece  engraved  on  wood  in  a marvelous  manner  by  Cole  and 
published  here  as  a photo-engraving,  remarkably  rendered  by  the  Weeks  Photo- 
Engraving  Company.  It  proves  not  only  that  process  will  reproduce  pen  drawings 
perfectly,  but  the  reproductions  of  them.  These  were  in  The  Century. 


318  C.  B.  FALLS 


PEN  DRAWING 


FALLS,  though  he  has  distinguished  himself  more  in  his  color  work  and  by 
wood-cutting,  is  also  notable.  His  masses  of  black  and  white  are  very  well 
opposed  and  make  a most  interesting  silhouette.  The  drawing  on  following  page 


OF  AMERICAN  WORK 


319 


»r  jv 


.yjT?T 


X . 

^\cV '.•.->•■  .'r • ■ r'  W1.  y'-j 

\.v-.;/  : - 


.Sr' 


mmmm 

/ ' if; 

%s 


has  a very  interesting  aquatint  ground  on  it,  and  this  should  be  compared  with 
the  half-tone  tints  in  the  two  others. 

Falls  is  one  of  the  few  younger  illustrators  who  has  really  studied  his  craft  and 
understands  how  to  work  technically;  and  though  he  has  succeeded  in  a notable 
fashion  in  his  profession,  this  is  but  another  proof  that  we  should  have  a practical 
school  of  the  graphic  arts  in  the  country  where  all  graphic  artists  could  learn  their 
profession,  and  not  as  now  have  to  unlearn  most  of  the  tips  they  have  picked  up. 


320  W.  T.  SMEDLEY 


PEN  DRAWING 


FOR  years  Smedley  has  been  recognized  as  a most  interesting  illustrator,  but 
he  has  never,  like  Abbey  or  Pyle,  seemed  to  care  to  confine  himself  to  one 
medium,  unless  it  is  that  he  prefers  wash  to  line,  his  wash  drawings  coming 
remarkably  well  by  process.  His  work  is  quite  as  American  in  character  as  Frost’s, 
and,  I think,  more  free  and  varied  in  handling.  The  types  in  both  drawings  are 
carefully  studied,  the  backgrounds  well  suggested,  and  the  work  is  all  carried  out 
with  an  apparent  freedom  which  is  the  result  of  the  hardest  study.  He,  too,  is  gone. 


From  Harper'*  Magazine.  Copyright,  1890,  by  Harper  A Brothel 


322  C.  DANA  GIBSON 


PEN  DRAWING 


DURING  the  last  twenty-five  years  only  one  American,  C.  D.  Gibson,  has  won 
an  international  reputation  in  humorous  or  society  drawing — several  have 
tried  to.  The  reason  for  this  is  not  difficult  to  understand.  Mr.  Gibson  has  had 
something  to  say  and  he  has  said  it.  This  expression  of  his  own  individuality 
has  won  him  the  right  to  illustrate  serials  and  articles,  and  unless  an  illustrator 
can  make  an  article  or  a story  more  interesting  and  attractive  by  his  drawings, 
unless  he  can  add  a personal  note  to  it,  he  stands  a small  chance  of  success. 
Individuality  means  art,  though  one  may  at  times  quarrel  with  Mr.  Gibson  for 
repetition.  Not  only  has  he  countless  artful  and  artless  imitators  on  both  sides 
of  the  Atlantic,  but  Fifth  Avenue  used  to  be  like  an  endless  procession  of  Gibsons. 
Whether  Gibson  is  responsible  for  this,  or  whether  Fifth  Avenue  is  responsible 
for  Gibson,  I do  not  know.  Gibson,  however,  though  he  may  retain  his  place 
socially  certainly  does  not  artistically  hold  his  former  popular  niche.  He  did 
his  work  well  in  his  way,  but  like  Du  Maurier,  and  unlike  Keene  and  May, 
did  not  carry  on,  and  that  is  necessary  to  fame  or  even  success.  His  Education 
of  Mr.  Pipp  and  other  characters  was  extraordinary,  so  were  some  of  his  render- 
ings of  high  life  in  London,  but  he  is  not  a prophet  or  a satirist,  and  the  sooner  he 
returns  to  his  girls  the  better  it  will  be  for  his  admirers,  and  politically  I do  not 
think  he  has  made  or  unmade  one  politician.  Society  and  not  seriousness  is  his 
game.  The  first  drawing  has  been  partially  reproduced  by  the  half-tone  process; 
most  of  the  tone,  however,  has  been  cut  away  by  wood-engravers  or  etched  out. 

Gibson  has,  as  I have  said,  received  more  of  the  flattering  testimony  of 
imitation  than  any  one,  but  he  is  the  inspiration  of  all  his  flatterers,  and  he  is  the 
creator  of  the  Gibson  Girl. 


324  OTTO  H.  BACHER  AND  W.  L.  DRAKE 


PEN  DRAWING 


BOTH  Drake  and  Bacher  have  done  good  work  in  other  than  still  life.  Drake 
has  made  some  charming  illustrations  to  Kipling’s  Stories  of  Child  Life,  and 
Bacher  gained  his  reputation  thirty  years  ago  by  his  etchings;  and  since,  no 
American  artists  have  done  as  good  work  as  these  two  men  in  rendering  the  play 


OF  AMERICAN  WORK 


325 


of  light  on  old  silver,  on  jeweled  caskets,  on  bronzes  and  on  ivories.  Their 
drawing  is  as  true  as  Jacquemart’s,  and  the  developments  of  process  have  given 
them  a chance  which  the  Frenchman  was  unable  to  take  advantage  of.  These 
drawings  are  quite  equal  to  Jacquemart’s  etchings,  and  one  can  say  nothing  better. 


326  ROCKWELL  KENT 


PEN  DRAWING 


KENT  has  founded  himself  on  Blake.  He  would,  I imagine,  be  the  first  to 
admit  this,  but  there  were  two  things  about  Blake  which  Kent  does  not 
possess.  In  the  first  place  the  Englishman  was  a highly  skilled  technician,  and  in 
the  second  he  was  occasionally  mad  and  saw,  as  he  says,  visions;  but  these  visions 
were  rendered  by  a highly  skilled  engraver.  Kent  has  endeavored  to  render,  as 
Blake  would  have  done  had  he  lived  today,  his  designs  by  pen  drawing  and  proc- 
ess, and  Kent  again,  unlike  Blake,  is  not  sure  of  his  style,  and  to  me  his  realistic 
studies  of  landscape  are  better  than  his  imaginative  creations,  for  Kent  is  more 
of  a realist  than  a dreamer.  His  work  is  powerful  and  direct,  though  clumsy; 
he  suffers  from  the  universal  American  lack  of  technical  training  and  cannot 
properly  express  himself.  And,  unlike  Rossetti,  who  also  admired  Blake,  he  has  not 
yet  evolved  a style  of  his  own ; still  his  work  is  distinctly  interesting,  crude,  clumsy, 
and  powerful — not  for  a student  to  copy  but  to  look  at.  He  and  Booth,  however, 
are  carrying  on  tradition  and  I hope  they  may  continue  and  so  succeed;  and  they 
have  made  their  drawings  for  process,  while  Blake’s  had  to  be  engraved  or  etched. 


OF  JAPANESE  ILLUSTRATION  CHAPTER  VIII 

IT  would  be  impossible  to  write  of  pen  drawing  in  Europe  and  America 
without  acknowledging  the  debt  which  all  artists,  who  have  thought  and 
worked  and  striven  in  their  art,  owe  to  the  Chinese  and  Japanese.  All  should 
know  and  study  reverently  the  sketchbooks,  the  drawings  on  silk,  the  prints, 


plain  and  colored,  all  the  decorative  work  of  Oriental  artists  which  is  so  freely  and 
beautifully  rendered  by  the  pen,  or  rather  by  the  brush,  or  has  the  brush  as  basis. 
They  are  the  most  beautiful,  the  most  decorative,  the  most  true  studies  ever 
made,  and  made  with  the  finest,  most  expressive  lines.  I do  not  even  pretend  to 
know  the  history,  nor  would  it  be  worth  while  to  give  a list  of  names  of  these 
artists.  But  I do  know  that  one  can  learn  more  about  art,  decoration,  and  beauty 


OF  JAPANESE  ILLUSTRATION  329 

from  a Japanese  sketchbook,  which  could  be  bought  for  fifty  cents,  than  is  often 
to  be  learned  from  a whole  season  of  Western  picture  shows.  The  influence  of  the 
Japanese  is  becoming  daily  more  and  more  apparent.  Whistler  was  the  first  man 
to  appreciate  them,  and  early  also  was  Manet  in  his  wonderful  edition  of  Poe’s 


Raven.  Bracquemond,  too,  understood;  but  today  there  is  a whole  tribe  who  follow 
originals  they  have  never  seen  and  methods  they  do  not  understand.  A few  are 
studying  intelligently  and  working  out  results.  Edgar  Wilson  was  one  of  the 
most  successful  in  wood-cutting  and  color  printing.  Morley  Fletcher  and  Emil 
Orlik  have  ably  carried  on  the  tradition.  But  unless  one  can  assimilate  Japanese 


330 


PEN  DRAWING 


methods  in  the  right  manner — that  is,  unless  one  can  engraft  Japanese  methods 
on  European  subjects — it  is  better  to  study  their  drawings  as  an  old  master’s 
pen  work  should  be  studied,  otherwise  the  result  is  a medley,  neither  Japanese 
nor  European,  with  about  the  value  of  a tea-chest  made  in  Birmingham,  or  a 
Japanese  oil  painting  done  in  Paris.  I have  no  intention,  however,  of  attempting  a 
treatise  on  Japanese  drawing;  it  would  require  a volume,  and  several  very  able 
books  on  Japanese  art  are  to  be  had. 

In  the  production  and  reproduction  of  brush  and  pen  drawings  the  Chinese 
and  Japanese  are  hundreds  of  years  ahead  of  us.  Their  ink  is  better  than  any 
we  have,  their  wood-cutters  are  far  more  sympathetic  and  skilled  than  even  the 
facsimile  men  of  America,  and  their  printing  is  superb,  and  now  they  have  taken 
up  photo-engraving  with  great  success.  The  Japs  can  imitate  anything  save  the 
greatness  of  their  own  illustration,  which  till  we  showed  it  to  them,  they  never 
appreciated,  never  cared  for. 

Of  all  these  artists  Hokusai  is  the  greatest  Japanese  line  draughtsman  that  I 
know,  and  did  most  work  in  black  and  white,  and  his  greatest  series  is  the  Hundred 
Views  of  Fujiyama,  which  either  in  original  editions  or  in  reprints  one  could  find 
anywhere  a few  years  ago — now  they  can  scarce  be  found  at  all.  Hokusai  was  of 
the  people  and  worked  for  the  people,  and  was  ignored,  at  least  his  drawings  and 
his  books,  by  all  but  the  people.  This  series  was  a sort  of  illustrated  guidebook  to 
the  holy  mountain— a work  of  art.  We  make  works  in  photography,  but  the  West 


OF  JAPANESE  ILLUSTRATION 


331 


has  triumphed  over  the  East,  and  they  now  have  photo  artists  in  Japan  to  be  in 
the  fashion.  The  infinite  variety,  or  rather  the  hundred  varieties,  of  effect  in  the 
three  volumes,  are  amazing.  No  more  thorough  study  of  a subject  has  ever  been 
done,  or  rather  never  attempted.  I might  have  taken  any  two  pages  from  the 
book,  but  I chose  these  because  they  not  only  give  Japan  to  me,  but  are  arrange- 
ments that  have  never  been  surpassed  by  any  artists  of  any  country  or  time. 
Technically  they  are  perfect  for  study  and  print  perfectly.  The  one  of  the  moun- 
tain rising  from  the  mist  is  out  of  line  in  the  two  parts;  and,  though  the  register 
in  Japanese  prints  is  always  right  and  the  color  always  right,  often  their  prints 
when  facing  each  other,  as  these  do  on  two  pages,  are  not  in  line  either  at  the  top 
or  bottom.  I object  to  this  cutting  of  designs  into  two  pieces  as  much  by  the  Japs 
as  the  Yankees.  It  is  vile  and  so,  too,  is  their  mannerism  of  letting  the  design  run 
out  of  the  paper  on  which  it  is  drawn,  as  they  have  the  fashion  of  doing. 

Hiroshige  also,  and  so  did  many  other  artists,  make  books  of  Views.  This 
shower  on  Ohashi  Bridge  from  the  Hundred  Views  of  Yeddo  is  world  famous.  It 
has  been  the  inspiration  of  moderns,  and  though  not  original  with  Hiroshige,  this 
conventional  rendering  of  rain  was  known  to  the  old  Japanese  and  their  masters, 
the  Chinese  artists,  and  I have  in  Etchers  and  Etching  pointed  out  that  it  was 
known  to  Rembrandt  or  that  he  may  have  made  it  known  to  the  Japanese,  yet 
there  is  far  more  careful  study  of  the  falling  rain  in  this  wood-block  than  in  Rem- 


m.  % 


332 


PEN  DRAWING 


brandt’s  etched  plate.  One  design  by  Hiroshige  was  the  inspiration  of  Whistler’s 
Falling  Rocket  and  the  Nocturnes,  and  he  was  big  enough  to  admit  it;  and  he 
surpassed  the  Japanese  not  only  in  his  painting  but  in— as  I have  shown  in  the 
American  Chapter — his  rendering  in  their  own  manner  of  the  illustrations  in 
the  Catalogue  of  Blue  and  White  China. 

What  I want  to  refer  to  is  the  technical  side  of  Japanese  drawing.  The  brush 
undoubtedly  is  far  more  sympathetic  and  responsive  than  the  pen,  but  one  is  the 
tool  of  the  East  and  the  other  of  the  West;  but  the  brush  line  gives  far  more  variety 
than  the  pen  stroke,  from  the  utmost  fineness  to  the  greatest  breadth,  and 
it  can  be  used  for  washes  as  well,  while  their  facsimile  wood-cutting  is  far  beyond 
anything  we  have  ever  done.  Though  it  is  comparatively  easy  to  imitate  either  on 
wood  or  by  process  there  are  other  factors  which  give  character  to  Japanese  illus- 
tration. The  use  of  the  wood-block  is  one;  the  grain  of  the  block,  even  the  texture, 
the  fabric  of  the  wood  is  always  taken  advantage  of  by  the  artist  and  wood- 
cutter, and  different  woods  give  different  qualities  of  tone.  In  this  standardized 
West  the  aim  is  to  sterilize  everything,  at  any  rate  in  the  United  States,  and  we 
succeed.  There  is  none  of  this  quality  and  variety  of  surface  to  be  obtained  from 
a copper  or  zinc  plate,  they  are  all  uniform,  and  the  idea  of  the  Western  engraver 
is  to  standardize.  The  Jap  tries  to  characterize.  The  American  never  experiments 
any  more;  so  long  as  there  were  artists  in  Japan  they  were  always  experimenting. 
Now  they  are  imitating,  and  their  best  men  have  given  up  imitating  us  and  are 
returning  to  their  own  masters  and  methods.  From  the  very  earliest  times  the 


OF  JAPANESE  ILLUSTRATION 


333 


free  use  of  the  brush  was  the  sign  of  Oriental  work.  Look  at  these  horses.  I do  not 
know  who  did  this  early  print,  but  it  and  endless  others,  especially  those  in 
Hokusai’s  sketchbooks,  are  the  inspiration  or  rather  the  crib  from  which  the  Ists 
of  the  next  chapter  have  stolen  one  side  of  their  formula.  Greek  and  Persian  art 
they  have  made  artless  for  the  admiration  of  the  ignorant.  Look  at  the  Marquet 
— but  everything  with  them  is  stolen  though  they  are  either  too  low  to  admit  it  or 
too  cowardly  to  do  so.  Their  followers  too  ignorant  to  know  anything  about  the 
past;  too  lazy  to  learn  anything  about  the  present. 

The  rendering  by  wood-cutting  of  half-drawn  brush  work  is  astounding  in 
Japanese  engraving.  So  is  their  wash  work.  The  reason  for  this  amazing  skill  and 
craftsmanship  is  simple.  They  are  taught  two  or  three  fundamental  facts — to  use 
first  their  memory  and  then  their  tools.  And  the  tools  are  most  difficult  to  use 
and  require  a lifetime  of  practice,  and  behind  all  the  power  to  draw.  Did  not 
Hokusai  say  at  ninety  he  was  just  learning?  That  is  the  whole  matter;  we  are  all 
geniuses  and  are  taught  nothing.  There  have  been  very  few  geniuses  in  Oriental 
art  but  many  craftsmen.  The  great  artist  is  developed  from  the  craftsman — this 
is  known  everywhere  but  here.  But  the  modern  Japanese  as  a rule  are  as  stodgy  as 
we  are,  even  if  more  imitative  and  quicker. 

I remember  seeing  a Jap  drawing  a bird  in  a London  exhibition,  commencing 
with  the  eye  and  carrying  out  the  design  to  the  last  tail  feather;  and  when,  after 
seeing  this  repeated  several  times  on  several  days,  I asked  him  why  he  did  not 
begin  with  the  tail,  or  the  bill;  he  said  he  had  not  been  taught  that  way  of  doing 


335 


the  bird,  but  he  had  been  taught,  yet  he  was  not  an  artist  but  he  knew  his  craft. 
The  drawings  in  this  chapter  are  by  artists,  and  are  wonderfully  expressive, 
extraordinarily  able,  beautiful  in  form  and  a mine  of  study — only  do  not  prig  from 
them  technically  and  call  yourselves  original,  as  do  the  Ists;  verily,  they  have 
their  reward. 

I know  little  of  the  Japanese  methods  of  drawing  save  what  I have  seen  and 
read.  They  are  most  simple  it  seems.  A brush  in  a reed  holder,  India  ink  and  a 
piece  of  Japanese  paper  or  silk,  the  ink  mixed  in  saucers,  the  drawing  flat  on  the 
floor,  the  brush  held  vertically  over  it.  One  touch  or  wash  and  it  is  done  right, 
for  the  paper  will  not  stand  another  without  messing;  that  is  the  whole  thing,  but 
that  is  craftsmanship.  Another  matter  is  that  they  work  from  memory,  I believe, 


OF  JAPANESE  ILLUSTRATION 


336 


PEN  DRAWING 


not  from  nature,  and  so  put  down  the  important,  the  essential,  things  which  im- 
press them — that  is  what  we  should  learn  to  do.  But  even  then  most  of  our 
geniuses  could  not  approach  them.  But  their  best  work  we  should  follow. 


THE  NEW  ILLUSTRATION 


CHAPTER  IX 


IDO  not  intend  that  it  shall  be  said  that  I ignored  or  was  afraid  to 
notice  the  modernists,  the  cubists,  the  futurists,  the  whatever  Ists  they 
choose  to  call  themselves  for  the  moment,  but  by  their  handiwork  may 
they  be  judged.  The  beginning  of  the  whole  affair  was  a commercial 
proposition.  I could  tell  the  whole  story  of  the  German  Jew-Russian  combine 
which  brought  off  Van  Gogh  and  Gaugain  and  later  Cezanne  and  Matisse.  I even 
got  Van  Gogh  his  first  patrons  in  England.  The  syndicate  saw  money  in 
making  a corner  in  Van  Gogh  and  Gaugain — and  when  they  had  unloaded  the 
Van  Goghs  which  they  bought  for  twenty-five  francs  each  in  the  little  shop  off 
the  Place  Pigalle,  Paris,  in  1900,  and  sold  them  at  twenty-five  thousand  apiece  ten 


338  PEN  DRAWING 

years  later,  they  had  to  invent  live  men  to  step  in  the  dead  men’s  shoes,  and 
they  chose  Henri  Matisse  and  others  for  the  purpose.  I could  tell  the  whole 
story,  but  I have  not  the  space.  The  trick  of  Ists  and  Isms  is  so  easy  to  play 
that  any  one  can  play  it — it  is  briefly  the  avoidance  of  difficulties.  The  pretension 


that  the  art  of  the  Ists  is  primitive  is  bluff  or  ignorance.  We  cannot  become  as 
little  children  in  art,  despite  the  Bible,  but  it  is  easy  to  make  the  ignorant  and 
the  collector  and  the  critic  afraid  of  being  out  of  things  believe  so,  especially 
when  backed  by  a big  shop  window,  a literary  agent,  and  an  adoring  multitude 
of  incompetent  and  lazy  art  students  trying  to  be  in  the  fashion.  I have  placed 
these  New  Illustrators  after  the  old  Japanese  and  how  much  after  a comparison  will 
prove.  If  these  things  are  liked  it  is  because  “They  pays  better  than  pictures,” 
as  the  doorkeeper  at  one  of  Roger  Fry’s  hippodromes — I mean  exhibitions — once 
told  me,  and  Roger  Fry  is  typical  of  the  movement.  He  has  written,  drawn,  and 
painted  up  and  down  to  many  schools,  and  if  there  is  another  movement  he  will 
be  in  that,  like  Berenson,  who  does  not  appreciate  the  difference  so  long  as  he 


OF  THE  NEW  ILLUSTRATION  339 

can  sell  them — or  write  about  them — between  Giotto  and  Gaugain.  I have 
included  the  work  of  Van  Gogh  and  Gaugain,  the  leaders  so-called  of  the  new 
movements,  and  of  Matisse,  the  first  disciple  to  carry  the  business  on.  The  Ism, 
like  other  fashionable  diseases,  spread  all  over  the  world;  it  was  at  its  height 


at  the  outbreak  of  the  war  in  Middle  Europe  and  in  Nihilistic  Russia.  I have 
endeavored  to  collect  designs  by  the  Ists — I know  of  no  other  name  by  which 
they  may  be  described — though  again,  owing  to  the  war,  I have  missed — been 
compelled  to — not  only  men,  but  countries,  where  this  form  of  expression  is  most 
rampant,  for  it  is  in  those  countries  that  war  is  most  dominant.  It  is  interesting 
to  note  that  in  Russia  before  the  revolution  that  came,  and  in  Italy  before  the 
revolution  that  is  coming,  and  in  Germany  where  they  have  had  their  revolution, 
and  here,  where  we  have  to  be  in  everything  and  are  out  of  all  things  artistic — 
for  art,  save  commercially  and  socially,  scarce  exists  at  all — in  these  countries 
the  method  is  most  practiced,  the  game  most  played.  It  is  still  rampant  in 
Germany,  Austria,  Poland,  and  Russia  and  among  the  descendents  of  those 
nationalities  here.  The  people  who  make  these  things,  buy  these  things,  sell 
these  things,  tell  us  they  are  primitive;  that  they  have  become  as  little  children, 
that  they  draw  things  as  they  see  them.  Well,  this  is  what  they  say  they  see, 
the  things  on  these  pages.  I have  said  already,  but  I repeat  it,  that  the  primitives 
of  old  time  believed  themselves  realists;  they  were  in  advance  of  their  time — we 
have  carried  on  and  now  they  are  primitive — but  if  one  looks  at  the  earliest  work 


340 


PEN  DRAWING 

of  the  Chinese,  the  Egyptians,  the  Greeks,  one  sees  what  wonderful  artists  for 
their  time  these  peoples  were.  They  are  the  inspiration  of  all  time,  of  all  of  us, 
because  they  were  the  greatest  craftsmen,  the  greatest  technicians  of  their  time. 
But  is  this  portrait  by  Matisse  in  line  better  in  handling  than  one  by  Holbein, 


Rembrandt  or  Whistler?  Is  this  townscape  by  Van  Gogh  more  expressive  than 
one  by  Lalanne;  is  the  line  more  beautiful?  Is  this  female  by  an  unknown-to-me 
German  more  human  than  the  Miss  Siddal  by  Rossetti  in  the  English  Chapter? 
Is  this  shipping  subject  by  Marquet  more  true  than  Wyllie?  Is  any  one  of  these 
drawings  better  than  a Hokusai  or  an  Abbey?  Can  they  rival  Phil  May  or 
Sullivan?  Is  this  decoration  more  perfect  than  Morris  or  Beardsley?  Is  this 
architecture  better  than  mine?  Is  it?  The  man  who  says  so,  says  so;  but  it 
proves  nothing,  even  though  all  the  world  agrees  with  him,  for  majorities  are 
always  wrong,  and  this  is  the  work  of  the  majority,  for  all  can  do  it;  only,  like 
photographers,  they  all  do  the  same  thing.  There  is  no  personality  about  it.  You 
can  tell  the  work  of  one  artist  from  another,  even  if  you  do  not  know  his  name; 
you  cannot  tell  the  work  of  one  of  these  people  from  another,  even  though  his 


OF  THE  NEW  ILLUSTRATION  341 

or  her — and  there  are  many  hers — name  is  signed  to  the  performance.  As  has  been 
well  said,  you  can  tell  what  Rembrandt  and  Whistler  meant  when  they  drew, 
but  you  cannot  tell  how  they  did  it.  Of  these  people  you  can  tell  how  they  drew 
a thing,  but  you  cannot  tell  why  they  did  it.  The  Ists  tell  you  they  are  mad,  and 


see  visions  like  Blake — and  Van  Gogh  was  mad,  but,  unlike  Blake,  he  was  not  a 
technician  and  could  not  express  himself  with  vital  lines.  Van  Gogh  and  Gaugain 
were  colorists,  but  they  could  not  draw.  Hokusai  and  Hiroshige  were  colorists, 
but  they  could  draw;  and  whoever  heard  of  a mad  man  calling  himself  mad? 

This  work  is  war,  destruction,  annihilation.  War  is  the  triumph  of  the 
strongest,  this  is  the  triumph — or  it  would  be — of  the  weakest,  the  most  incom- 
petent, the  laziest,  the  most  degenerate,  the  most  commercial,  for  it  is  all  a 
commercial  proposition.  True,  that  is  all  the  world  has  become— the  triumph  of  the 
unfit.  Why  are  the  halt,  the  maimed  and  the  unfit  encouraged,  while  those  who 
have  done  something  are  left  to  shift  for  themselves?  This  thing  has  happened 
before,  and  the  dark  ages  were  the  result.  We  are  on  the  brink  again  today. 
However,  I only  want  to  show  what  had  been  done,  and  comparing  that  with 


342 


PEN  DRAWING 

what  is  being  done,  prove  how  low  are  the  aims  and  the  accomplishments  of 
today,  and  how  easily  the  majority  swallow  incompetence  and  back  up  inability. 
I would  be  the  first  to  praise  the  simplicity,  the  economy,  the  directness  of 
these  drawings,  if  technically  the  work,  the  line  work,  was  good,  but  it  is  rotten, 
cheap,  decayed,  diseased.  The  world  may  accept  it.  I may  see  it  accepted,  but 
that  will  not  alter  my  belief  and  my  knowledge  of  what  is  good  and  what  is  great. 
These  things  are  pathetic  in  their  poverty  of  line  and  weakness  of  line;  they 
have  no  vitality  or  energy,  and  that  is  what  is  the  matter  with  those  who  made 
them.  They  are  diseased,  decadent,  dreary,  dry,  dull.  Have  I not  seen  their 
authors,  The  Ists  drinking  milk  in  the  Cafe  Royal,  and  chewing  gum  in  Childs’ 
when  on  their  debauches,  following,  they  think,  Gaugain,  the  master — or  is  he 
their  master?  No;  they  are,  they  say,  their  own  masters,  laws  unto  themselves, 
pirates  toward  others. 

I have  wandered  during  these  last  years  in  the  haunts  I know  so  well,  col- 
lecting the  new  books  and  the  new  drawings,  wandering  among  the  shops  of 
Europe  and  America,  where  once,  in  Paris,  I found  Steinlen  and  Carlos  Schwabe; 
or  in  Venice,  Martini  and  Tito;  in  Leipzig,  Menzel  and  Dietz;  in  London,  May  and 
Beardsley;  here,  Abbey  and  Blum.  They  are  all  gone — and  many  of  the  shops 
are  gone;  there  are  new  men  and  new  shops,  new  ideals.  But  in  Prance,  Italy, 
Germany,  Austria  there  is  scarce  anything  new;  the  great  darkness  has  fallen 
on  these  lands  of  light.  What  there  is,  the  sort  of  thing  it  is,  is  in  these  last  pages. 
The  men  of  the  new  movement  say  it  is  revolutionary.  Well,  it  coincided,  or  came 
rather  before  the  end  of  the  world;  for  it  was  in  1914  that  the  world  died.  These 
say  that  their  work  is  the  expression  of  “tecnic”  (even  their  propaganda  is 
written  in  a language  of  their  own,  though  the  spelling  in  this  is  that  of  Roose- 
velt), and  not  story  telling,  and  yet  everything  they  have  done  has  a title,  and 
all  have  to  be  looked  at  for  a long  while  before  the  meaning  can  be  discovered. 
As  for  the  technique,  you  do  not  have  to  look  long  to  find  that  the  trick  is  plain. 
They  say  that  they  can  draw,  but  they  do  not,  save  mechanically,  in  their 
paintings,  nor  in  their  sculpture.  A kaleidoscope  draws  better.  They  say  we 
cannot  surpass  the  Greeks  or  Velasquez  or  Hals  or  Rembrandt,  so  they  turn  to 
their  own  things.  They  do  not  say  that  is  so  easy  to  do.  Their  scheme  is  the 
avoidance  of  all  difficulties,  saying,  to  save  their  faces,  “That  is  the  way  we  see 
things,”  that  “they  express  their  individuality”;  when  there  is  so  little  character 
you  cannot  tell  the  work  of  one  1st  from  another  1st. 

Though  I never  saw  Van  Gogh  when  he  and  I were  living  in  Arles,  and  only 
heard  of  him  from  the  Bourgeois  as  a mad  man,  I,  a year  or  two  after,  got  to 
know  his  things  in  Paris,  and  showed  his  early  drawings  and  prints  in  London, 
drawings  which  greatly  resembled  Millet,  from  whose  technique  he  gradually 
broke  away  to  express  himself  brilliantly  in  paint.  Some  of  the  drawings,  too, 
are  good  in  line,  vital  but  always  clumsy,  and  as  his  madness  grew,  they  did  not, 
like  Blake’s,  become  more  mystic,  more  wonderful  technically,  but  more  crude, 


OF  THE  NEW  ILLUSTRATION  343 

more  clumsy,  more  stupid,  more  sordid,  for  Van  Gogh  was  a poor  creature  and 
not  a great  artist  like  Blake.  Blake  was  a trained  craftsman;  Van  Gogh  an  un- 
trained duffer,  a Bible  agent  who  took  to  paint  because  he  had  a brother  in 
Goupil’s.  He  and  Gaugain — the  rest  don’t  count;  they  are  only  followers  and 
imitators — are  not  artists  because  they  have  not  been  trained;  can’t  express 
themselves,  and  so  fall  back  on  their  Isms  and  Ists.  I try,  and  sometimes  succeed 
in  liking  Gaugain’s  paintings  for  their  far-away  color,  but  it  is  not  necessary  to 
be  told  his  life  as  a proof  that  he  could  not  draw.  His  drawing  proves  it;  like  all 
the  rest,  it  proves  absolutely  the  clumsy,  artless,  stupid,  empty,  dreary  line  he 
used.  No  fine  writing  by  American  company  promoters  like  Eddy,  with  a house 
full  of  Ists,  or  English  Idealists  like  Roger  Fry,  who  has  fallen  for  everything 
from  chocolates  and  primitives  to  this,  or  the  syndicate  of  Meier  Graefe,  Cassirer, 
and  Von  Tschude  and  all  their  hangers-on  in  the  purlieus  and  quarters  of  art  all 
over  the  world  can  prove  that  this  drawing  of  Gaugain’s  is  anything  but  rotten, 
or  else  everything  in  this  book  save  the  work  in  this  chapter  is  rotten,  and 
“I  am  of  the  company.”  Commercialism  and  incompetence  could  go  no  further 
than  in  the  boom  of  these  later  poseurs.  But  it  is  good  business  even  though 
not  art. 

Here  is  Matisse’s  portrait  of  himself — he  can  draw,  he  says — and  this  is 
what  he  draws.  He  can  compose,  and  this  is  what  he  composes,  and  he  teaches 
sixty  pupils  drawing;  they  would  not  stay  with  him  sixty  minutes  if  he  taught 
them  really.  They  don’t  want  to  draw;  they  want  to  learn  the  trick  of  making 
Matisses;  that  is  what  all  pupils  want  from  their  “masters”— or  all  of  those 
who  get  nowhere — but  they  can’t  help  arriving,  by  playing  this  game.  I am  not 
considering  anything  but  these  men’s  published  or  exhibited  pen  drawings,  and 
it  is  of  those  vital,  condemning  or  confirming  evidences  of  a man’s  ability  or  want 
of  it  that  I speak;  but  the  drawings  give  the  show  away. 

I was  American  Commissioner  and  also  a member  of  the  British  Govern- 
ment Commission  for  the  Leipzig  Exhibition,  1914,  and  I saw  the  world  exhibi- 
tion of  the  graphic  arts  in  that  city,  and  the  decorative  and  educational  arts  in 
Cologne  the  same  year.  And  the  prophecy  of  the  director  of  the  Leipzig  school 
has  come  true  when  he  said,  and  I have  quoted  it  already,  as  he  looked  around 
the  walls,  “We  are  in  the  same  state  that  Greece  and  Rome  were  before  they 
fell,  and  something  awful  is  going  to  happen  to  us.”  It  has  happened,  though  in 
this  fool  sink  pot  and  rubbish  heap  of  illiterate  blind  hypocrisy  we  don’t  know 
it  and  go  on  gaily  golfing,  craping,  jazzing,  collecting.  In  a far-away  fashion  some 
of  these  drawings  at  Leipzig  were  amusing.  I knew  few  of  the  draughtsmen’s 
nationalities;  I never  shall  know  them.  This  of  a factory  country  certainly  could 
not  be  more  simply,  directly  rendered,  but  is  each  line  beautiful  or  expressive? 
They  are  clumsy  and  crude,  the  work  of  an  untrained  duffer  trying,  I believe, 
to  say  something,  but  ignorant  how  to  do  it — blind  led  by  the  blind  instead  of 
Rembrandt — or  even  by  me.  Take  this  drawing  of  sculpture,  or  even  the  Rodin 


344  PEN  DRAWING 

— Rodin  could  draw,  as  this  book  shows,  but  when  he  got  loose  or  found  himself, 
as  in  his  later  years,  he  became  as  impotent  in  art  as  he  was  conceited  in  life, 
while  his  ideas  at  the  end  were  perverted  when  not  commercial.  He  was  one 
of  the  most  overrated  personalities  of  his  time.  Success  completely  turned  his 
peasant  head.  I knew  him;  he  was  my  President,  and  I know  and  could  tell 
much  more. 

This  marine  by  Peckstein  is  simply  complacent  cheek.  I can  put  it  over,  the 
perpetrator  says,  or  maybe  he  really  knows  no  more;  he  is  a new  German. 


And  another  matter  which  is  curious  is  that  half  these  things  are  indecent, 
obscene.  That,  the  perpetrators  say,  shows  their  purity.  Every  one  knows  that 
some  forms  of  art  are  phallic,  erotic,  always  have  been  and  always  will  be,  but 
from  the  time  of  the  Egyptians,  the  Saxons  and  Japanese,  the  church  builders 
and  the  decorators,  all  forms  of  art  have  been  clothed  with  beauty  and  mystery. 
The  work  of  the  Ists  is,  much  of  it,  low  and  vile — the  stuff  that  is  scribbled  on 
the  wall  by  the  boy  who  runs  away.  That  is  why  it  is  so  popular;  why  some  col- 
lectors understand  it. 

In  decoration,  the  make-up  of  the  Yellow  Journal  is  to  be  the  ideal — it’s  so 
expressive,  the  Ists  say.  They  do  not  say  it  is  the  cheapest,  the  quickest  form  of 
pandering  to  the  lowest.  That  good  work  in  decoration  and  arrangement  takes 
time  and  thought  is  beyond  these  people,  with  whom  laziness  and  ignorance  are 
virtues.  Advertisements,  as  I have  said,  are  our  best  illustrations  today,  but 
there  are  ads  and  ads — there  is  only  one  sort  of  Ists,  though  they  have  many 


OF  THE  NEW  ILLUSTRATION  345 

names.  I have  said  my  say.  I am  right.  My  words  will  be  remembered  when 
this  fad  is  forgotten.  But  I want  them  to  go  on  record.  The  world  is  going,  but 
some  things  will  remain,  among  them  the  great  drawings  in  this  book. 

It  is  truly  said  the  critics  and  painters  were  all  against  the  Impressionists; 
it  is  never  stated  that  so  strongly  were  the  artists  for  them  that  their  work  was 
from  the  beginning  shown  officially  in  the  Salon  des  Refuses.  Now  the  critics, 
collectors  and  duffers  are  all  for  these  people,  not  wanting  to  be  left  again.  The 
artists  of  the  world  are  all  against  them,  and  have  nothing  to  do  with  them, 


unfortunately  rarely  show  them.  The  failures  are  all  for  them.  Lots  of  the  Ists 
are  painters  who  have  failed.  Even  one  man  I know  turned  his  unsalable  machines 
into  Isms  and  did  good  business  with  the  stuff  he  made  of  them.  Matisse,  they 
say,  has  made  enough  money  and  has  returned  to  his  Salon  machines.  Yet  even 
out  of  this  good  has  come,  because  it  has  turned  the  attention  of  the  intelligent 
to  early  work,  and  it  has  simplified  painting  and  decoration  in  the  right  way  and 
by  the  right  people.  But  these  people  have  not  done  it.  It  was  done  despite 
them.  These  things  are  by  fakers  and  fanatics  and  not  by  primitives  or  mad 
men.  In  the  end  if  they  have  anything  in  them  they  return  to  art,  for  art  is 
eternal — and  the  same.  We  can  only  carry  on  tradition. 

VINCENT  VAN  GOGH 

VAN  GOGH  did  many  wonderful  drawings  in  his  early  days,  influenced 
greatly  by  Millet,  as  well  as  wonderful  paintings,  but  they  were  all  the  work 
of  a half-trained,  half-able-to-express-himself  madman,  who,  cutting  loose  from 
tradition,  did  what  he  wanted  and  did  infinite  harm  in  the  world.  Van  Gogh 
was  mad,  and  may  be  forgiven.  The  others  who  are  not  mad  are  the  Reds  of  art, 


and  like  other  Reds  are  to  be  suppressed,  or  for  the 
time  art  will  be  suppressed.  The  Mont  Majeur  at  sunset 
is  interesting,  though  clumsy,  and  an  artist  is  never 
clumsy.  But  what  of  the  Cate? 

H.  MATISSE 

IF  this  portrait,  a pen  drawing  by  Matisse,  is  art,  if 
these  lines  are  distinguished,  all  other  art  is  artless.  I 
shall,  however,  continue  to  believe  that  this  portrait  of 
himself  by  IVIatisse  is  worthless,  and  that  li  his  nude  is 
art,  study  is  useless.  Only  in  a decayed  world  made 
safe  for  amateurs,  poseurs  and  incompetents,  would 
such  things  be  accepted,  as  they  are  today,  but  it  is 
the  end  of  the  day,  or  the  end  of  artlessness,  and  Matisse 
is  its  prophet.  Matisse,  I understand,  has  however  re- 
turned to  his  bourgeois  style  and  renounced  or  denounced 
his  gods,  and  paints  as  he  once  did,  having  made  enough 
money  to  do  so. 


OF  THE  NEW  ILLUSTRATION 


347 


MARQUET 


DOES  it  express  the 
boat,  or  the  tree, 
or  the  smoke,  or  the 
opposite  shore?  Is  it 
done  with  the  faultless 
skill  of  Hiroshige?  Or 
of  the  old  Chinese?  It 
is  copied  from  their 
work,  and  badly,  but 
that  is  its  only  merit. 

GAUGAIN 

LINE  proves  instant- 
ly and  conclusively 
whether  one  can  draw 
or  not,  whether  one  has 
any  feeling  for  expres- 
sion, whether  one  has 
any  technique,  whether 
one  is  able  or  a fraud. 
I have  admired  the 
color  and  arrangement 
in  Gaugain’s  paintings, 
but  when  he  deliber- 


348  PEN  DRAWING 

ately  made  drawings  like  this  and  must  have  believed  in  them — for  they  are 
in  his  journal — it  is  the  most  conclusive  proof  that  he  and  those  who  follow  him, 
who  admire  him,  who  collect  him,  have  no  appreciation  of  what  has  through 
the  ages  been  known  as  art — is  art — and  if  any  art  remains  in  the  new  world, 
if  there  is  one,  will  be  art.  This  drawing  is  an  example  of  artless  incompetency,  a 
disgrace  to  art,  a proof  that  those  who  admire  it,  or  do  it,  are  artless. 

Gurlitt’s  Almanack  for  this  year  contains  these  expressions  by  Germans.  I 
use  them  for  I want  them  to  be  seen;  Max  Peckstein  for  his  seascapes,  his 
compositions,  his  figures,  his  portraits — it’s  not  what  we  are  coming  to,  but 
what  we  have  arrived  at.  Munch,  who  has  made  lithographs  of  character,  and 
Richard  Ianther  have  fallen  before  the  fad — but  they  are  endless.  We  are  all 
artists  il  this  is  art — only  it  is  rot  or  mannerism,  for  when,  as  here,  you  see  a 
number  together  you  cannot  tell  one  from  the  other.  They  are  all  characterless, 
communistic,  expressionless,  and  art  is  aristocratic,  individual,  characteristic. 
France,  England,  and  America  are  full  of  the  same  tribe.  They  are  the  result 
of  sad  failures,  want  of  real  ability,  grievous  disappointment.  These  are  the  men 
and  women  who  would  save  the  world  by  destroying  every  work  of  the  past  to 
make  themselves  in  the  present,  Bolshevists — many  of  them  Russians,  more  of 
them  Jews.  Drawing,  engraving,  printing  are  all  to  be  reduced  to  their  Bolshevic 
level  and  dullness.  It  is  the  triumph  of  democracy  and  dreariness,  but  art  is 
aristocratic,  the  triumph  of  endless  toil  and  tireless  effort  of  the  most  gifted, 
not  the  vomit  of  the  giftless.  Art  debased,  brought  to  the  level  of  artless  people, 
becomes  artless,  and  so  are  those  who  make  it,  exhibit  it,  and  above  all  and  the 
end  of  all,  sell  it.  An  easy  way  of  making  a living — and  art  is  the  most  difficult, 
the  most  exacting  profession.  It  is  only  a fad  and  a fashion,  and,  like  other  fashions, 
it  will  change  and  disappear.  It  has,  however,  turned  the  eyes  of  thinking  artists 
to  the  past,  and  they  have  learned  how  great  the  past  was,  how  little  is  the  present. 


OF  NEWSPAPER  ILLUSTRATION 


CHAPTER  X 


COFSEE.  M'JFICH 


THE  most  important  development  in  Pen  Drawing  during  the  last 
quarter  of  a century  has  been  in  newspaper  illustration,  and  this  book 
and  its  author  had  something  to  do  with  it.  I say  this  myself,  as  few 
will,  if  they  can  help  it,  tell  the  truth  about  me  or  the  art  of  illustration. 
The  very  first  serious  attempt  to  use  pen  drawings  for  newspaper  illustration  was 
made  in  the  London  Daily  Chronicle  in  the  year  1895,  and  I was  asked  by  the 
proprietor,  Mr.  Frank  Lloyd,  and  the  literary  editor,  Mr.  H.  W.  Massingham,  to 
take  charge  of  it.  Twenty-five  years  before  The  New  York  Graphic  had  used  photo- 
lithography, but  that  was  too  complicated  and  slow  to  be  successful.  And  in 
England  The  London  Daily  Graphic  was  illustrated,  but  neither  of  these  had 
printed  large  and  important  drawings  regularly.  The  London  Daily  Graphic  never 
did;  The  New  York  Graphic  did  occasionally.  Neither  did  the  Chronicle  at  first.  My 
aim  was  to  get  the  best  men,  and  then  to  take  advantage  of  the  size  of  the  paper 
to  print  large  blocks,  and  first  to  have  the  drawings  artistically  important.  To  the 
Chronicle , Whistler,  Morris,  Burne  Jones,  Beardsley,  Crane,  Phil  May,  E.  J. 
Sullivan,  Maurice  Greiffenhagen,  Alfred  Parsons,  Raven  Hill,  A.  S.  Hartrick,  and 


350 


PEN  DRAWING 


A.  Von  Salzman.  Wash  and  Line 


OF  NEWSPAPER  ILLUSTRATION 


351 


S.  Finetti.  Wash  and  Line.  Both  pages  are  newspaper  advertisements  of  the  same  firm. 
Excellent  examples  for  cheap  and  rapid  printing.  Note  the  way  the  firm’s  name  is  introduced 
without  ruining  the  design. 


352 


PEN  DRAWING 


Joseph  Pennell  contributed,  and  there  were  many  more,  but  no  daily  paper  ever 
published  such  illustrations  or  had  such  illustrators.  All  these  men  were  trained 
craftsmen  and  they  all  were  interested  and  wanted  to  see  what  would  happen 
on  the  rapid  Hoe  press,  then  30,000  an  hour. 

Technically  I had  the  support  of  Carl  Henschel,  at  that  time  an  eminent  and 
energetic  photo-engraver  and  experimenter;  and  of  the  Lloyds,  the  proprietors, 
and  the  printer,  Mr.  Bugg  of  the  Chronicle.  The  printers  loved  to  work  then,  as 
they  love  to  vacate  now.  It  is  interesting  to  recall  the  interesting  experiments  that 
were  made.  As  all  these  artists  knew  how  to  make  pen  and  brush  drawings,  they 


OF  NEWSPAPER  ILLUSTRATION  353 

made  them  freely  but  carefully,  using  their  lines  openly  to  support  the  designs,  so 
they  should  not  fill  up,  strongly  so  they  should  not  break  down,  in  pure,  good 
black  ink.  At  times  I enlarged  the  drawings  to  get  strength  of  line — for  it  is  only 
the  art  editor  who  thinks  a drawing  must  be  reduced,  and  the  result  of  these 
illustrations  was  felt  all  over  the  world — especially  when  the  drawings  were 
printed  of  a large  size.  The  drawings  were  intended  to  show  the  work  of  the 
London  County  Council  and  were  published  before  an  election.  There  were  some 
twenty-eight  drawings  done — and  we  lost  twenty-nine  seats — some  one  said  it 
showed  the  power  of  art  upon  the  voting  classes  of  London.  Finally  the  Chronicle , 
on  my  persuasion,  printed  page  drawings,  and  I made  one  or  two  of  the  first  that 
were  issued,  as  well  as  for  other  papers  in  England.  Among  them,  the  first  illustra- 
tion the  London  Times  ever  printed  in  pen  and  ink  reproduced  as  a full  page — 
The  Funeral  of  Edward  VII — and  others  for  The  Manchester  Guardian , which 
was  always  energetic  and  experimental. 

The  drawings  were  photo-engraved,  made  into  line  blocks  in  the  ordinary 
fashion,  though  deeply,  strongly  etched,  and  in  the  first  experiments  an  electrotype 
was  made  of  the  whole  page;  later  the  electros  of  the  illustrations  were  screwed 
down  on  the  stereos,  blanks  being  left  in  the  metal  to  take  them,  the  text  having 
been  set  up;  and  finally,  the  Chronicle  stereotype  plates  were  improved  to  such  an 
extent  that  they  could  be  used,  for  the  cost  and  time  to  make  electrotypes  was 
almost  prohibitive — newspapers  in  England  being  newspapers  and  not,  as  here, 
mere  pegs  to  hang  ads  on. 

The  printing  also  was  a difficulty  as  the  blocks  containing  large  masses  of 
blacks  either  bunged  up  or  offset  on  the  other  pages.  This  was  our  greatest  diffi- 
culty, and  it  was  finally  mastered  by  using  an  extra  heated  cylinder  and  running 
the  illustrations  the  length  of  the  press  to  another  heated  cylinder  to  dry  them, 
from  which  the  letterpress  on  the  back  was  printed  and  the  sheet  then  went  down 
into  the  pasting  and  folding  machine  and  came  out  with  the  unillustrated  pages. 

Now  illustrations  are  used  all  over  the  pages,  and  the  result  depends  upon 
three  factors:  the  artist,  the  paper,  and  the  ink.  Modern  printers  use  far  less  ink 
and  the  presses  run  at  double  the  speed,  but  do  not  smear,  though  half  the 
time  the  impression  does  not  get  half  enough  ink.  The  early  papers  were  far  better 
printed,  for  at  present  the  speed  is  apparently  too  great  for  good  work — a glance 
at  the  papers  proves  this.  The  London  Daily  Graphic  was  printed  on  the  Marinoni 
press,  which  had  its  troubles.  I remember  the  paper  coming  off  the  machine  in 
ribbons  on  the  opening  night  when  Sir  Edward  Clarke  started  the  press,  and  the 
flight  of  the  distinguished  company  from  the  pressroom  filled  with  serpontins. 
Until  the  printers  got  things  straight  we  listened  to  speeches  of  congratulation 
punctuated  with  popping  corks. 

I believe  The  New  York  Graphic  could  only  do  an  edition  of  1500 — or  was  it 
15,000 — in  a day  on  the  lithographic  presses  they  used,  but  they  did  it  well.  Now 
the  same  presses  would  do  the  latter  number  in  an  hour. 


I have  only  referred  to  those  papers  which  printed  line  drawings  reproduced 
by  photo-engraving.  Years  before  lithography  was  tried  wood-engraving  had  been 
used  for  newspaper  illustrations. 

Twenty-five  years  ago  some  good  work,  very  good  work,  was  done  by  Harry 
McCarter,  W.  Glackens,  Everett  Shinn,  and  John  Sloan,  and  later  by  J.  C. 
Coll  and  H.  Devitt  Welsh,  for  Philadelphia  papers.  But  soon  either  the  literary 


editors  took  charge  and  employed  artless  duffers,  or  used  photographs  which 
have  debauched  everything  artistic  and  brought  it  down  to  the  vulgar  shop- 
keeping level  in  which  we  have  to  exist.  Or  people  who  could  neither  draw  nor 
decorate  imposed  themselves  on  editors,  till  now  pen  borders  deface  even  the 
half-tone  and  rotogravure  photos  which  clutter  up  the  pages.  At  last  there  is  some 
attempt  at  the  revival  of  pen  drawing  in  the  daily  press,  though  photos  and  wash 
drawings  still  dominate  artless  editors  and  an  artless  public,  but  the  ink  has 
become  so  poor  and  so  little  is  used  that  the  prints  on  poor  paper — that,  too,  has 
degenerated — do  not  compare  with  those  of  twenty-five  years  ago — nor  does 
America  itself.  But  the  best  illustrations  in  line,  or  even  in  wash,  are  found  in  the 
rubbish  heaps  of  ads  of  the  five  and  ten  cent  magazines  which  disgrace  and  degrade 
this  dreary,  dry  country.  They  are  as  standardized  as  the  goods  they  advertise. 
It  is  perfectly  well  known  that  these  magazines  could  not  be  issued  without  the  ads 
of  the  size  they  are,  therefore,  as  little  is  wasted  on  literature  and  art  as  possible, 
and  the  ads  dropped  in,  interleaved,  sprawled  over  the  page,  are  what  make 
such  journals  go.  Such  is  progressive  America  today.  You  will  see  the  intelligent 
American  resident,  sitting  on  his  porch  in  a big  rocking  chair,  commencing  with 


356 


PEN  DRAWING 


H.  Devitt  Welsh.  The  designs  at  the  top  of  these  pages  are  for  general  news- 
paper use;  those  at  the  bottom  were  only  printed  in  the  Philadelphia  Press. 


OF  NEWSPAPER  ILLUSTRATION 


357 


The  upper  drawings  on  these  pages  were  made  in  pure  line.  Those  in  the 
lower  part  have  washes  in  color  over  the  pen  lines.  They  were  printed  in  color. 


358 


PEN  DRAWING 


J.  C.  Coll  knows  much  of  the  requirements  for  rapid  printing.  This  is  an  example  of  the 
way  in  which  an  artist’s  drawing  is  often  treated— one  corner  cut  off  for  no  reason  and  the  other 
sacrificed  to  lettering.  At  the  bottom  the  same  has  been  done;  and  then  to  repair  it  a mechan- 
ical Ben  Day  tint  added,  completely  ruining  the  feeling  of  the  design. 


OF  NEWSPAPER  ILLUSTRATION 


359 


the  last  page  and  spitting  on  his  or  her  fingers,  for  you  can’t  open  the  pages 
otherwise,  turning  forwards — what  do  they  care  for  reading  or  seeing?  Save  the 
ads,  one  shrieking  louder  than  the  other,  that  howl  each  other  down,  there  is  no 
form,  no  design,  no  harmony,  no  decoration.  Just  yells  to  eat,  drink,  ride,  chew, 
smoke — all  the  American  now  cares  for  and  spends  37,000,000,000  on — his  ideals 
and  his  gods.  But  over  all  and  above  all,  money  and  making  money  is  the  sole 
aim  of  most  editors.  Even  the  ad  men  dread  the  rotten  rhinoceros  they  have 
created,  and  the  advertisers  must  take  two  pages  at  least  to  keep  from  being 
knocked  down  by  their  competitors  opposite  them.  To  aid  in  this,  really  brilliant 
artists  have  been  called  in — not  foolish,  snapshot,  colored,  soulful,  money-grab- 
bing, uplifting  idealists,  but  trained  craftsmen,  though  in  most  cases  they  are 
quickly  ruined  by  the  rubbish  they  are  compelled  to  grind  out.  Angels  illustrate 
advertisements  for  banks.  Nudes  on  skates  cavort  on  summer  days,  and  over 
all  are  tailor-made  males  and  females  in  ready-made  suits,  riding  in  made- 
while-you-wait  cars,  trying  to  look  like  what  the  ad  man  and  the  art  man  think 
are  ladies  and  gents,  drawn  by  “he  and  she”  artists.  Across  the  cuts  run  the 
slogans  in  the  most  vulgar  type,  shrieking  illiterate  lies — such  are  our  uplifted 


360 


PEN  DRAWING 


M.  Fellows.  Two  fashion  designs  printed  in  Vanity  Fair.  Good  use  of  line  and  wash 
in  three  tones,  even  if  the  whole  scheme  has  been  borrowed  from  European  journals.  The 
right  use  in  this  case  of  the  right  methods. 

brainy  magazines.  Curtis  even  issues  a book  on  Curtis  standards,  art,  moral, 
methods  of  composing  and  printing  for  his  clientele  of  advertisers— art  and  litera- 
ture only  fill  up  the  gaps  in  his  organs.  This  is  hustle,  this  is  art  today  in  this 
country,  and  all  the  while  the  artist  stares  open-mouthed  at  the  sums  these  hacks 
and  over-lords  get — or  are  said  to  get— and  now  they  have  nobbled  or  boycotted 
the  artist  who  must  make  ads  if  he  wants  to  make  a living  by  illustration.  I have 
found  few  ad  men  who  told  the  truth,  kept  their  promises — they  may  pay  their 
debts— but,  in  my  case,  most  backed  out  of  the  commission  or  made  it  impossible. 
I could  have  sued  the  swindlers,  but  they  probably  had  nothing  but  brass  and 
gas  behind  their  office  doors,  and  some  editors  are  not  unlike  them. 

We  have  never  had  a great  cartoonist,  caricatures  and  cartoons  being  printed 
in  papers;  and  since  Nast  the  only  man  with  an  artistic  reputation — and  technic- 


OF  NEWSPAPER  ILLUSTRATION 


361 


ally  he  is  better  than  Nast— is  W.  A.  Rogers.  He  was  dropped  from  the  Herald 
lately  and  Frost,  I believe,  farms.  No  one  but  a race  of  childish  imbeciles  could 
stand  the  daily  cartoon — utterly  artless  and  utterly  unintelligible  to  any  but  the 
local  audiences  at  which  it  is  chucked.  Even  the  followers  of  one  newspaper  don’t 
understand  the  cartoons  of  its  rival.  We  have  no  all-powerful  cartoonists  in  the 
land,  no  man  like  Daumier  or  Gilray.  We  don’t  want  them,  and  the  editors  would 
not  print  their  drawings  if  we  had.  As  for  the  funny  men,  did  you  ever  see  a 
modern  American  laugh  at  an  American  present-day  funny  drawing?  Here  again 
there  is  only  A.  B.  Frost,  like  Rogers,  left.  Oliver  Herford  has  apparently  stopped 
work.  The  comics  make  you  sick  instead  of  making  you  laugh;  they  prove  how 
rotten,  debased,  vulgar,  inane  and  lewd  we  are  become,  and  no  amount  of  bragging 
can  get  over  the  facts.  For  every  one  who  sees,  and  doesn’t  understand  without  a 
guidebook  or  a docent,  an  exhibition  of  paintings  or  murals  which  they  hate,  all 
see  and  love  and  gloat  over  the  comics  which  they  know  and  believe  in.  They  have 


L.  Fellows.  Automobile  advertisement  circulated  in  newspapers  and  magazines.  The 
cuts  of  these  drawings  are  either  made  by  half-tone  or  the  Ben  Day  process.  The  artist 
either  paints  the  tint  or  indicates  on  the  drawing  in  blue  pencil  where  he  wishes  the 
engraver  to  apply  it. 


Lee  Mero.  Used  widely  in  newspapers,  though  nearly  ruined  by  the  type  inserted  and  the  heavy  border 


C O M F O RT  I N 


The  artist’s  name  is  not  signed.  Sometimes  this  is  suppressed  by  the 
advertisers  and  sometimes  even  they  do  not  know  it.  One  firm  writes,  “We  are 
endeavoring  to  secure  the  name  of  the  artist.”  Such  is  a modern  method  of 
encouraging  illustration.  Such  is  the  artist’s  pride  in  his  work. 


Aubrey  Beardsley.  Drawn  in  the  nineties  for  the  Courrier  Franqais . 
One  of  the  earliest  of  good  advertisements;  an  inspiration  till  today. 


THE  FAITH  OF  THIS 
MAN  STOOD  BEHIND 
THE  EARLIEST  ACHIEVE 
MENT  OF  GET  I LUNGS 
WHO  FOUNDED  THE 
BILLINGS  & SPENCER 
COMPANY  OF  HARTFORD 
THE  FIRST  COMMERCIAL 
DROP  FORGING  PLANT 
IN  AMERICA 


OF  NEWSPAPER  ILLUSTRATION  367 

replaced  the  Bible.  The  average  American  is  deplorably  artless,  and  yet  we  prate 
of  art.  The  illustrated  papers  prove  our  ignorance  of  it. 

The  empty  heads  and  fat  legs  of  sexless  grinning  females  ogle  you  from  the 
gaudy  covers  of  the  magazines  and  the  Sunday  supplements  of  the  dailies,  always 
in  greens  and  reds  and  browns,  in  chalk  and  ink,  they  defile  and  disgrace  the  dailies. 
Their  contents  are  standardized,  syndicated  and  sterilized  for  the  oafs  and  old 
maids  who  turn  their  photo-plastered,  syndicated  pages  as  they  sit  in  rows  of 
rocking  chairs  on  rows  of  front  porches — females  and  porches  all  standardized. 
It  is  to  this  that  American  illustration  has  come.  And  professors  of  art  forbid  us 
to  look  at  anything  save  the  rubbish  and  rot  of  our  own  land  lest  we  might  get  an 
idea.  Even  directors  of  print  rooms  take  the  comics  and  the  movies  seriously, 
and  use  them  as  bribes  to  draw  the  people  to  their  shows,  and  then  brag  of  their 
attendances — if  they  included  a prize  fight  the  attendance  would  be  bigger.  The 
art  editors  make  no  experiments  only  in  stealing  from  each  other.  Middle  class 
and  lower  class  vulgarity  and  nastiness  and  dirt  are  the  new  American’s  ideals, 
smeared  over  with  sentiment  and  hypocrisy,  and  spewed  out  as  literature  and  art 
in  aniline  dyes  and  stinking  ink.  No  country  ever  sank  so  low,  was  so  completely 
devoted  to  money  and  mediocrity  as  this.  There  is  a saving  remnant,  but  in  many 
popular  magazines  there  is  no  room  for  art;  most  of  these  publications  are  the 
curse  of  the  country.  Let  their  name  be  anathema — they  have  damned  it. 

All  the  decent  weeklies  have  gone  out  of  business  and  not  a daily  is  up  to  the 
standard  of  ten  years  ago.  Hence  the  illustrator  must  count  on  poor  engraving, 
poor  ink,  poor  presswork,  which  will  never  give  good  results  at  any  speed,  but  as 
the  paper  carries  50,000  more  lines  of  ads,  and  the  presses  turn  out  50,000  an 
hour — what  is  wrong? — what’s  art  done  anyway?  Though  modern  editors  have 
done  for  it  nearly. 

The  drawings  to  print  at  all  must  be  bold  and  firm  and  open  and  pure  black. 
Lines  must  support  each  other  as  a single  line  will  carry  too  much  ink,  while  care- 
fully arranged  lines  can  be  carelessly  printed.  There  is  no  use  thinking  of  uniform 
black  masses  in  the  same  number  or  issue,  the  print  will  vary  between  a half  inked 
smear  and  a dirty  black  smudge,  all  due  to  the  carelessness  or  ignorance  of  the 
person,  female  or  male,  at  the  press,  who  will  pay  no  attention  to  the  work  unless 
something  happens  to  the  press  and  then  they  stop  it  and  take  a rest.  The  cheapest 
help  will  be  employed  that  the  union  allows.  If  the  editor  likes,  he  will  cut  the 
design  in  half,  sticking  it  on  two  pages,  and  the  photo-engraver  will  trim  the  edges 
to  save  good  zinc  or  copper  and  cut  slabs  off  the  drawing;  the  stereotyper  never 
looks  at  his  plate  apparently,  and  the  printer  neither,  unless  it  bungs  up  and  spits 
ink;  and  five  minutes  after  the  reader  has  got  the  paper  he  casts  the  unclean 
thing  from  him,  or  it  would  by  its  size  turn  him  out  of  his  hired  or  mortgaged 
standardized  house.  He  even  only  looks  at  one  paper  lest  he  should  get  some  other 
fad  notion  but  his  editor’s. 

The  Sunday  rotogravure  supplements  are  an  example  of  the  editorial  want 


368  PEN  DRAWING 

of  progressiveness.  All  “carry”  the  same  photographs  supplied  by  the  same 
“service,”  the  same  ads,  too;  there  is  scarce  an  “individual”  page;  how  I hate 
these  standardized  words;  there  is  scarce  a bit  of  character,  not  an  experiment, 
though  I tried  in  St.  Louis,  and  suggested  in  New  York,  what  a chance  for  the  pen 
draughtsman?  Drawings  could  be  reproduced  and  printed  perfectly;  but  the 
manager  calls  up  the  “photo  service,”  gets  his  “dope”  for  the  week,  starts  print- 
ing before  anything  “newsy”  happens,  fills  the  blanks  with  fat-headed  politicians 


Unsigned.  French  illustrations  from  La  Gazette  du 
Bon  Genre , drawn  with  pen  and  colored  by  hand 


and  fat-legged  females,  all  grinning,  gets  all  the  ads  he  can,  has  the  Sunday  paper 
out  Saturday  afternoon  so  as  not  to  interfere  with  his  golf,  and  thinks  he  is  a 
brilliant,  up-to-date,  clever  business  man.  Such  is  American  editorial  energy. 

Still,  there  is  a saving  remnant  in  illustration,  and  the  remnant  has  been  saved 
by  newspaper  and  advertising  illustration — and  the  standard  may  again  be  raised 
and  Pen  Drawing  come  once  more  to  its  own. 

I have  selected  as  varied  a series  of  newspaper  illustrations  as  I could  find,  but 
it  must  be  evident  that  they  are  mostly  copies,  the  American  ones,  of  foreign 
work.  There  is  scarce  any  originality  in  the  land — I mean  in  ideas.  Fashion  and 
motor  illustrations  are  the  most  numerous;  in  the  former,  having  got  over  the 
inane  elongated  female,  we  are  now  prigging  from  the  French  fashion  magazine 
La  Gazette  du  Bon  Genre , and  especially  from  the  work  of  Boutet  de  Monvel,  and 
lately  great  improvement  has  been  made  in  the  advertisement  pages  of  papers  and 
magazines  in  America.  The  best  work  I have  seen  is  by  Fellows  in  Vanity  Fair , 


OF  NEWSPAPER  ILLUSTRATION  369 

a good  arrangement  of  black  and  grey  masses  connected  with  simple  lines;  this 
prints  perfectly  and  all  the  papers  are  full  of  it  today  it  is  so  easy  to  imitate — 
badly.  Franklin  Booth  was  the  thing  a little  while  ago,  but  he  was  too  difficult 
to  steal  from  and  so  has  been  abandoned.  After  all,  however,  this  chapter  proves 
that  advertising  is  an  art  and  has  been  practiced  by  great  artists.  How  many 
know  Beardsley’s  Geraudel  Pastille  advertisement  in  the  Courrier  Fran$ais  or  the 
German  Henkell  Trocken — good  drawing,  good  technique  applied  to  advertise- 


Similar  drawing  printed  with  red  key  block 
and  gold  in  flat  masses;  colors  added  by  hand 


ment;  or  the  Coca-Cola  design,  a masterpiece  published  in  American  papers; 
an  idea  started  in  England  by  a German  who  came  to  grief  in  the  war — Tony 
Sarg.  Not  the  artist  of  the  same  name  who  appeared  during  the  war  in  this  coun- 
try. He  is  not  prigged  from,  it  is  too  difficult;  but  even  the  advertising  agent  did 
not  know  the  name  of  the  artist  who  made  this  Coca-Cola  design,  one  of  a 
number,  by  Mr.  Lee  Mero,  who  is  a most  interesting  man. 

For  a few  weeks  Mr.  Sarg’s  work  appeared  in  the  comic  section  of  The 
New  York  Herald , but  it  was  far  over  the  heads  of  the  American  people  and 
quickly  disappeared;  now  he  draws  for  The  Tribune.  Burne  Jones’  design  came 
out  in  the  Chronicle  and  printed  splendidly. 

Among  those  who  have  distinguished  themselves  in  the  popular  magazines 
and  newspapers  is  J.  C.  Coll,  who  certainly  can  draw  and  who  also  under- 
stands the  value  and  quality  of  line,  getting  color  without  color  and  model- 
ling without  elaboration,  though  at  times  he  is  tempted  in  this  way.  But  the 


370 


PEN  DRAWING 

variety  of  his  line,  his  delicate  greys  relieved  by  the  strongest  blacks  all  balanced 
and  thought  out,  are  not  only  remarkable  and  most  valuable  as  models  to  the 
student,  but  of  technical  worth;  and  very  interesting  is  the  way  he  leaves  white 
lines  which  help  the  black. 

H.  Devitt  Welsh  also  has  done  most  excellent  line  work,  often  reinforced  with 
flat  color.  Both  these  artists  got  their  training  in  newspaper  offices  and  know  how 


Johnnie  Walker  : “ You  Sportsmen  disseminate  the  best  British  spirit  wherever  you  go.” 
Polo  Player  : “ Thanks,  but  surely  no  one  does  that  more  effectively  than  you.” 


Leo  Cheney.  This  firm  has  introduced  the 
same  figure  in  all  their  advertisements  and  made 
him  and  their  products  well  known. 


to  draw  for  cheap  and  rapid  printing,  and  because  they  know  that,  they  know 
also  how  to  work  for  fine  printing. 

Several  young  men  graduated  from  the  Graphic  School  on  to  that  paper; 
the  proprietors  ran  a sort  of  practical  school  of  journalism  for  able  students  in 
their  office;  among  them  is  Mr.  Crowther,  whose  portraits,  by  their  character 
directly  rendered,  their  simplicity  of  line  which  allows  them  to  print  well  on  a 
rapid  steam  press,  prove  him  to  be  a draughtsman  well  fitted  for  daily  illustrated 
journalism.  But,  like  all  good  men,  his  work  is  not  spoiled  by  being  printed  care- 
fully, nor  is  it  much  improved.  This  is  as  it  should  be;  it  is  not  necessary  to  draw 
down  to  a penny  paper  nor  up  to  a shilling  magazine.  Work  should  be  good  and 
look  right  wherever  it  is  printed.  Naturally,  under  some  circumstances,  elabora- 
tion is  out  of  place,  but  want  of  elaboration  does  not  mean  want  of  art. 

The  limitations  of  timely,  newsy  drawing  and  quick  engraving  and  rapid 


371 


OF  NEWSPAPER  ILLUSTRATION 

printing,  necessary  in  the  production  of  a daily  illustrated  paper  like  The  Daily 
Graphic , were  felt  by  a set  of  young  artists  in  England,  and  they  adapted  their 
work  to  meet  these  limitations.  They  were  trained  in  the  Graphic  office.  Mr. 
Reginald  Cleaver  has  succeeded  in  evolving  a style  which  renders  his  subjects  well. 


M.  Patitucci.  Bibendum  made  an  inter- 
national reputation  for  himself  and  the  Michelin 
firm;  and  his  full-length  portrait  made  in  France 
prints  remarkably  well.  It  was  advertisements 
of  this  sort,  daily  drawn,  which  appealed  twenty 
years  ago  to  the  people  of  Europe,  and  the  doiftgs 
of  Bibendum  were  looked  forward  to,  day  by  day. 


engraves  well,  and  prints  well.  Now  these  artists  are  mostly  superseded  by  photo- 
graphs. Mr.  Cleaver’s  drawings  come  almost  as  well  in  the  pages  of  a rapidly- 
printed  newspaper  as  here.  He  seizes  the  telling  points  of  an  event,  concentrates 
them,  and  puts  them  down  in  the  simplest  and  most  direct  manner.  It  is,  how- 
ever, rather  unfair  to  single  out  Mr.  Cleaver,  when,  in  other  ways,  Mr.  T.  S.  C. 
Crowther,  Mr.  Boyd,  Mr.  Johnson — they  are  mostly  dead  and  gone  from 
this  dreary  world,  thank  God! — to  name  no  more,  have  shown  that,  given  the 
ability  to  produce  good  work,  and  an  interest  in  journalism,  the  artist  a chance 
to  show  what  he  can  do,  if  the  editors  will  let  him,  he  can  do  so.  The  drawing 


PEN  DRAWING 

of  Cologne  Cathedral  is  excellent;  and  though  it  is  doubtful  if  Mr.  Tringham 
ever  saw  Cologne,  he  has  made  good  use  of  his  material;  probably  a photograph. 
I he  cathedral  is  intelligently  drawn  and  the  town  is  well  put  in.  All  newspapers 
are  illustrated;  and  it  will  be  interesting  to  note  if  they  follow  on  the  one-time 


successful  lines  of  The  Daily  Graphic , or  succumb  completely  to  the  debauched 
and  degraded  taste  for  comics  and  photos,  or  seek  to  develop  new  means  and 
methods.  For  the  would-be  newspaper  illustrator  there  could  not  be  safer  men 
to  study  than  the  artists  of  The  Daily  Graphic. 

In  England  alone  the  old  weeklies,  The  Illustrated  London  News  and  The 
Graphic , keep  up  their  former  size  and  vigor.  Elsewhere,  so  far  as  I can  find  out, 
all  is  changed,  stopped,  degenerated  or  decreased  in  size.  Jugend , Simplicissimus 
and  Blanco  y Negro  are  pathetic — or  photographic.  Newspaper  illustration  in 
Europe  has  not  advanced.  What  has  happened  in  Germany  and  Austria,  where 
mechanically  and  technically  the  most  interesting  work  in  rotogravure  was  done, 
I do  not  know.  All  is  black  and  blank. 

I quote  the  following  paragraphs  from  a newspaper  interview  published  in 
The  Philadelphia  Sunday  Ledger.  I do  not  remember,  I could  not  even  decipher, 
the  name  of  the  lady  artist,  nor  do  I know  her  work;  but  she  is  evidently  one  of 
our  standardized  art  school  products,  and  she  explains  her  ideals  and  her  suc- 
cesses in  her  sort  of  art  far  better  than  I ever  could. 


OF  NEWSPAPER  ILLUSTRATION 


373 


Mrs.  G.  C.  Riley.  Good  example  of  newspaper  work.  It  printed  ex- 
cellently in  the  advertising  pages  of  the  papers  in  which  it  appeared 


“Why  do  you  do  pastel  heads?”  the  interviewer  asked. 

“Because  there  is  nothing  easier.  I really  did  choose  the  one  and  only  easiest 
method  of  making  money.  First,  pastels  are  already  mixed  for  you;  I don’t  like 
paints  because  they  have  to  be  mixed,  which  takes  time  and  trouble.  Second,  I 
like  pastels  because  I think  pen-and-ink  drawing  is  the  hardest  thing  on  earth. 
Third,  I wouldn’t  do  sculpture,  because  there  I should  have  the  extra  trouble  of 
working  with  a third  dimension.  I do  heads  and  heads  and  heads,  all  different, 
but  always  heads  and  always  with  pastel.  It’s  play  for  me  and  it  would  be  play 
for  any  one.” 

A writer  in  Scribner  s sums  up  the  whole  case  when  he  says,  “It  (Pen  Draw- 
ing) is  of  all  mediums  the  most  exacting  ...  a difficult  mode  of  expression.”  I 
probably  wrote  that  originally,  as  I did  the  greater  part  of  his  article,  so  I do 


E.  F.  Bayha.  Each  of  the  draughtsmen  understands 
newspaper  printing;  yet  each  drawing  has  character 


tomDeoicis 


vSANCHO  PaNZA  N&y  Master,  Aitcvck  tkem.  not , — YW&xjk&ip  tkev)  At  Ow  "Jhrotkers! 


W.  A.  Rogers.  Cartoon  published  in  The  New  York  Herald.  The  design  is  effective,  the  lettering  awful 


The  Outlaw 


Rene  Clark.  A most  effective  newspaper  illustration.  It  was  printed  in  red  and  black,  but 
prints  here  equally  well,  a proof  that  it  was  well  thought  out.  The  “commercial  stunt”  of 
running  the  wolf’s  leg  outside  the  black  field  is  thoroughly  bad,  and  in  many  cases  would  make 
it  impossible  to  place  on  the  page. 


376 


PEN  DRAWING 


S.  Chapman.  Both  drawings  on  this  page 
are  by  the  same  artist,  and  both  print  well.  The 
borders  at  the  top  are  bad,  but  used  to  relieve 
the  lines  of  the  trees. 

not  mind  its  being  repeated,  lor  it  is  true;  and  it  proves  that  the  avoidance  of 
difficulties  is  the  aim  of  most  modern  artists. 

What  is  to  be  done?  Start  a National  School  of  the  Graphic  Arts  as  intelli- 
gent nations,  like  the  Germans,  had  before  they  got  a fool  military  class  which 
led  them  on  to  war.  We  have  that  class,  only  backed  by  fanatics  and  females, 
instead  of  craftsmen  and  workmen,  as  in  Germany.  In  no  way  is  the  degeneracy 
so  evident  as  in  the  fact  that  notorieties  who  wish  to  see  their  smiling  smirk  in 
print  have  engravings,  etchings,  lithographs  made  of  themselves  and  printed 
in  the  papers;  an  American  will  do  anything  to  get  his  grinning  mug  in  print. 
They  supply  the  papers  with  their  photos  before  they  get  up  the  story  that 
will  give  them  a place  in  the  paper  for  one  edition.  Such  is  fame,  such  is  art  in  the 
United  States.  Pages  of  drawings  appear  every  day  in  most  papers,  a page  of 
comics  and  several  of  illustrated  ads — every  paper  has  the  same  ad.  If  the  adver- 
tisers had  any  sense  they  would  change  them  in  each  journal  which  prints  them 
every  day;  but  the  last  thing  the  American  business  man  possesses  is  horse  sense. 
It’s  only  small  sharpness — not  really  even  that.  The  Sunday  papers  have  their 


OF  NEWSPAPER  ILLUSTRATION 


377 


Note  the  way  in  which  in  one  drawing  the  car 
is  silhouetted  in  white  and  in  the  other  in  black 


colored  comics  or  offset,  their  rotogravure  sections;  others,  color  prints — the  color 
added  to  pen  and  ink,  the  drawings  made  with  pen  and  then  color  in  flat  tones 
added  either  by  using  mechanical  flat  tints,  which  I have  described,  for  each 
color,  or  by  means  of  color  screens,  though  mostly  oil  paintings,  which  never 
would  be  exhibited  or  sold,  are  used.  Instead  of  proper  schools  we  have  corre- 
spondence institutes  which  tell  the  pupil  how  to  make  money  first  and  art  last,  or 
not  at  all— and  art  service  bureaus  that  syndicate  hacks  as  long  as  they  can  stand 
it  and  then  refuse  them  a job  when  they  can’t. 


E.  J.  Babcock.  Advertise- 
ment for  drawing  paper,  which 
prints  perfectly. 


A woman’s  choice!  Most  of  the  real  and 
lasting  beauty  which  man  has  created  has  been 
for  her.  Her  instinct  for  the  genuine  and  the 
truly  fine  has  ever  been  insistent  and  sure.  In 
choosing  the  Packard — as  in  the  choice  of  her 
jewels,  her  fine  furnishings  and  fabrics — she 
but  satisfies  a natural  and  innate  craving  for 
that  form  of  beauty  which  carries  the  highest 
mark  of  truest  worth.  *8?  There  are  twenty  and  more 
Packard  styles  to  select  from.  The  prices  are  three  thou- 
sand fifty  dollars  and  up,  at  Detroit.  Packard  Motor 
Car  Company  of  Philadelphia,  319  North  Broad  Street, 
Philadelphia — also  Bethlehem,  Harrisburg,  Lancaster, 
Reading,  Trenton,  Williamsport  and  Wilmington. 


Ask  t h 


man  who  owns  one 


"twin-6 


Garth  Jones.  Decorative  Newspaper  Drawing 


OF  PEN  DRAWING  FOR  BOOK  DECORATION 


CHAPTER  XI 


svom  Htrper’s  Magazine. 


Copyright,  1893,  by  Harper  & Broth**” 


WILLIAM  MORRIS  sought  to  separate  the  conventional  decora- 
tion of  books  from  their  realistic  illustration,  and  to  treat  each  as 
a distinct  art,  or  rather  to  consider  the  former  to  be  fine  art, 
the  latter  to  be  artless.  Though,  in  a measure,  the  illustrator 
has  become  divorced  from  the  decorator  in  our  age  of  division  of  labor,  there 
is  no  real  reason  for  this  separation.  In  the  early  age  of  book  decoration  the 
decorator  and  illustrator  worked  together,  and  were  one.  No  one  could  deny 
that  from  Botticelli  to  Holbein  and  the  other  illustrators  of  beautiful  books  the 
artist  was  both  decorator  and  illustrator;  if  the  work  was  not  actually  done  by 
the  same  hand  it  was  the  product  of  the  same  mind  and  the  same  shop.  No  one 
but  a master  of  drawing  could  have  drawn  the  figures  which  are  interwoven  in 
the  decoration  of  almost  all  these  works.  I do  not  refer  to  the  pictures  inserted  in  the 
text,  in  the  initial  letters  or  in  the  margins,  but  to  the  so-called  conventional 
decorative  forms,  though  when  they  were  done  they  were  thought  the  last  thing 
in  realism.  Neither  do  I mean  to  say  that  these  artists  did  all  the  work  with 
their  own  hands,  I would  as  soon  assert  they  drew  and  cut  all  their  wood-blocks, 
but  they  invented  the  designs  and  corrected  the  blocks.  Their  names  have 
mostly  been  forgotten,  as  their  work  was  probably  ignored  when  it  was  pro- 
duced. Now  it  is  treasured  and  revered  by  the  handful  who  know  it.  But  while  I 


From  Harper’8  Magazine. 


Copyright,  1893,  by  Harper  & Brothers. 


HE  tyme  of  thaduent  or  comyng  of 
our  lord  in  to  this  world  is  halowed 
in  holy  chirche  the  tyme  of  iiii  wekes 
in  betokenyng  of  iiii  dyuerse  conv 
ynges.CTne  i was  whan  he  came 
ana  apierid  in  humayn  nature  and 
flessh.  The  ii  is  in  the  herte  and 
conscyence.  The  iii  is  at  the  deth. 
The  iiii  is  at  last  Jugement.  The  last 
weke  may  vnnethe  be  accomplissed. 
For  the  glorye  of  the  sayntes  whiche  shal  he  yeuen  at  the  last 
comyng  shal  neuer  enae  ne  fynysshe.  And  to  this  signyfyv 
aunce  the  first  responce  of  the  first  weke  of  aduent  hath  iiii 
verse  to  rekene  C Gloria  patri  & filio  for  one  to  the  reporte  of 
the  iiii  wekis,  and  how  be  it  that  there  be  iiii  comynges  of  our 
lord,  yet  the  chirche  maketh  mencion  in  especial  but  of  tweyne, 
that  is  to  wete,  of  that  he  came  in  humay  ne  nature  to  the  world, 
and  of  that  he  cometh  to  the  Jugement  & dome,  as  it  apperith 
in  thoflyce  of  the  chirche  of  this  tyme.  And  therfor  the  fas' 
tynges  that  ben  in  this  tyme,  ben  of  gladnes  and  of  joye  in 
one  partie,  & that  other  partie  is  in  bittemesse  of  herte.  By 
cause  of  thecomyngeof  ourlorde  in  our  nature  humayne,  they 
ben  of  joye  and  gladnes.  And  by  cause  of  the  comyng  at  the 
day  of  Jugement  they  be  of  bittemes  and  heuynes. 

S towchyng  the  comyng  of our  lord  in  our  bodyly 
flessh, wemayconsidrethrethyngesofthiscom.' 
yng.  That  is  to  wete  thoportunyte,  the  neces^ 
syte  & the  vtylyteC  The  oportunyte  ofcomyng 
is  taken  by  the  reson  of  the  man  that  first  was 
vanquysshyd  in  the  lawe  of  nature  of  the  default 
of  the  knowledge  of  god,  oy  whiche  he  fyll  in  to  euyll  errours, 

& therforehewasconstraynedtocryetogodC  Illuminaoculos 
meos,  thatisto  saye,lord  gyuelyghttomyn  eyen.  After  cam  the 
lawe  of  god  whiche  hath  gyuen  commandement  in  which  he 
hath  ben  overcome  of  Impuissance,as  first  he  hath  cryed  ther 
is  non  that  fulfilleth,  but  that  comandeth.  For  ther  he  is  only 
taught  but  not  delyuerd  fro  synne,  ne  holpen  by  grace,  and  £ 
therforehe  was  constrayned  to  crye,  ther  laketh  non  to  comande 


THE  COLLECTS,  EPISTLES,  AND  GOSPELS,  TO  BE 
USED  THROUGHOUT  THE  YEAR. 

The  Collecfl,  Epistle,  and  Gospel,  appointed  for  the  Sunday,  shall 
serve  all  the  Week  after,  where  it  is  not  in  this  Book  otherwise  or' 
dered. 

The  Colledt  appointed  for  any  Sunday  or  other  Feast  may  be 
used  at  the  Evening  Service  of  the  day  before. 

THE  FIRST  SUNDAY  IN  ADVENT.  THE  COLLECT. 


LMIGHTY  God,  give  us  grace  that  we 
may  cast  away  the  works  of  darkness,  and 
put  upon  us  the  armour  of  light,  now  in  the 
time  of  this  mortal  life,  in  which  thy  Son  Je' 
sus  Christ  came  to  visit  us  in  great  humility ; 
that  in  the  last  day,  when  he  shall  come  a.' 
gain  in  his  glorious  majesty  to  judge  both  the 


quick  and  the  dead,  we  may  rise  to  the  life  * 

immortal,  through  him  who  liveth  and  reigneth 

with  thee  and  the  Holy  Ghost,  now  and  ever.  A ' men. 

% This  Colledl  is  to  be  repeated  every  day,  with  the  other  Colle<fls| 
in  Advent,  unto  Christmas'day. 

THE  EPISTLE.  Rom.  xiii.  8. 


WE  no  man  a-ny  thing,  but  to  love  one  an- 
other : for  he  that  loveth  another  hath  fulfilled  the  I 
law.  For  this.  Thou  shall  not  commit  adultery,! 
Thou  shalt  not  kill.  Thou  shaft  not  steal.  Thou  I 
shall  not  bear  false  witness,Thou  shalt  not  covet ; and  if  there  be  any  I 


Description  of  the  Dastoral  ] 
,@taff  belonging  to  tjje  Diocese  ( 
ofjgDbanp,  D.eto  1ST  orb  * * 


%)astor 
al  ©taff 

ttJjtri)  tfjC 
J3iocm 
of  £LMnv  possesses, 
consists  of  tjjree  pnnei= 
palBarts,xoj)icj)am 

,£1  j3taff  toith  bosses,  a TTan* 
tern,  or  temple,  anb  a (Xroob. 
“i^hejStaff  isholloto,  seamless 
vX  aluminium,tombining  light* 
nessanb  strength,  tapereb  through* 
out,  omamenteb  at  tnterbals  (corn* 
spottbing  toith  the  sectio  aurea)totth 
banbs  of  golb,  Silber*gtlt  platinum 
anb  enamel,  anb  is  tippeb  toith  an 
tborp  ferule  to  obbiate  noise  in  use. 
CChejStaffis  cobereb  at  the  grip, 
tohere  the  hanb  comes,  toith  tohtte 
shagreen  so  as  to  gibe  a firm  Ijolb 
anb  to  aboibti)eei)tUof  metalincolb 
toeatljer.'CC  I )eXL  antern  is  herag* 
onal  in  plan  throughout,  anb  has  a 
gablebanb  pinnaclebroof  supporteb 
on  sir  buttresses  brith  a central  pil* 
lararounbtohichare  groupeb  tnsep* 
arate  niches  as  manpstatues  upon 
a raiseb  platform.  U^e  Sijc*sibeb 
enamelleb  spire  springs  from  a ga* 
bleb  roof  surrounbeb  bp  sir  pinnae  : 


cles  at  the  base  anb  crotoneb  bp  a 
pierceb  battlement.  ‘C&te  incloses 
aplatform  from  tohich  springs  the 
[roob,  quabrangular  in  cross  sec* 
in,  tapering  uptoarbs  anb  boublp 
.recurbeb,  enbing  in  a l03enge  shapeb 
'expansion  that  carries  a bneeltng 
figure  in  praper,  asa  terminal.  0Jt* 
amel  plaques  aborneb  toith  roses 
anb  crochets  form  the  ornament, 
ttoill  be  obserbeb  that  the 
figure  of  OurTJorb  is 
mabe  the  centre  both  of 
the  general  bestgn  anb  of 
the  ornament  Jit  is  placeb  in  the 
most  ornamental  anb  omamenteb 
part  of  the  construction.  Similar* 
ipitforms  the  linh  bettoeen  the  cen* 
tre  of  colour  abobe  anb  the  centre 
of  toorbmanship  beloto,  tohilst  the 
niche  in  tohich  it  stanbs  is  bestgn* 
eblp  mabe  as  simple  asposstble  so 
as  to  be  unobtrusibe.tT  heTJan* 
tern  itself  has  been  mabe  masstbe, 
so  that  it  offers  a firm  base  to  the 
(Xtooh  anb  is  in  contrast  toith  the 
lighter  forms  of  the  pinnacles;  anb 
plain,  to  afforb  that  repose  tohich  is 
neebeb  bp  the  epe  to  enhance  the  or 
nameittanbto  gibebarietp.T~  t toill 
be  nottceb  that  tohilst  the  spmme 
trp  of  the  T7  antern  (the  monu 
mentalpart)  is  absolute, toith  abieto 
to  repose  of  effectpet  neither  on  the 
stem  nor  on  theOC*00fe  areanpttoo 
betaiis  ibentical.,00  that  in  the 
main,  barietp  in  unttp  has  been 
aimeb  at  both  as  regarbs  material, 
form  anb  colour;  not  capriciousip, 
hotoeber,  but  accorbing  to  the  be< 


HI. 


ince  wlien^imiV  lorboJing1  Lit&l  did  pd'ienf ^it 

jLJpon  ktf  spkcr id  egg^Tke  wor  Id  Jo  wit 
_ Hohn+  witk>  lije.i’n  ocean,  eaHfk,^  aip, 

Sre  ever  jaqn  or  flower  did  people  il”: 

L"j- 


mce  when  'from  Count'Ll 5 <germs  lijks  tree  didgnsvd 
Irom  wriiking  worms  about  ik  roofs  below, 

Trom  dragon.-  shapes  tkat clasp  its  fossil  s tim, 
Zo  bear  loves  'jruit.d  k toman,  j'lowtrs  apoia. 


ey>  . , . . , {dwell, 

tVl  (^koughts  Winged  kind  among’  ik  branches  / I 

JdTiII  jertiii^d  b/^eaul^s  potent  spell ; 

Cast'  $ re-casl"  in  Ft.atMf*s  sqpp Is  moqlc/, 

rough  death  c$  ckange , d birtki  Tran^orywm^cd/. 

Lv.  f space 

^p was  pictqrfd  litre  - with  houghs  outspread  tkrb 

^Slossomed  wltk  stars  upon  the  ^Uy-r  swart  face, 

COj  itk  globing  worlds  'j'or  fruj  tkat  cool  or  cflow 
s ni  gkt  A day  , I i kg.  I laves  their  shadows  ckase. 


have  no  intention  of  endeavoring  to  separate  the  illustrator  and  decorator,  for 
no  such  separation  should  be  recognized;  there  is  a distinction  between  drawings 
which  ornament  the  page  and  those  which  illustrate  the  text.  Of  the  drawings 
reproduced  in  other  chapters  there  is  not  one  which  would  not  decorate  any 
book;  many  are  illustrative;  and  yet  a difference  in  motives  and  in  treatment, 
even  when  convention  is  set  aside,  is  apparent.  That  is  what  gives  them  character; 
makes  them  interesting.  The  old  manuscripts,  the  missals,  and  early  printed 
books  were  treated  very  much  as  are  modern  illustrated  publications.  The 
manuscripts  were  made  rich  with  ornament,  sometimes  confined  to  elaborate 
initial  letters,  sometimes  running  down  the  margin,  and  some  contained  pictures 
wholly  realistic  in  treatment,  either  placed  in  the  page  very  much  as  in  our 
magazines,  or  else  so  interwoven  with  the  ornament  as  to  be  inseparable  from 
it,  while  against  all  Morris  conventions  the  ornament  straggled  all  over  the 
lettering  and  his  at  times  straggled  down  the  side.  And  so  it  was  with  the  early 
printed  books.  At  times,  too,  the  text  was  enclosed  in  a border  of  graceful  spirals  or 
conventional  forms;  at  others  it  enclosed  a picture;  usually  picture  and  ornament 
were  not  to  be  separated.  Beautiful  as  many  of  these  designs  were,  after  they 
had  served  their  purpose  in  the  book  for  which  they  were  designed,  they  were  cut 
to  pieces  and  used  with  as  much  disregard  of  fitness  as  is  shown  by  any  present- 
day  cliche  dealer.  And  in  this  matter  William  Morris  was  one  of  the  worst  trans- 


388 


PEN  DRAWING 


gressors;  he  used  his 
designed  for  one  book, 
others.  He  was  as 
commercial  artists  he 
uscripts  and  books 
modern  illustrator, 
I do  not  intend  to 
place,  those  in  which 
occur  were  either 
afterwards  colored  by 
meant  to  be  seen  in 
sequently  when  one 
in  black  and  white  the 
extremely  poor.  Such 
tion,  which  has  no 
to  modern  printing, 
praiseworthy,  really 
nation  bestowed  by 
modern  work  save  his 
friends;  that  is,  work 


borders,  his  initials 
over  and  over  for 
bad  in  this  as  the 
despised.  These  man- 
are  a mine  to  the 
but  it  is  a mine  which 
work.  In  the  first 
the  best  examples 
printed  in  color,  or 
hand,  and  were  not 
black  and  white,  con- 
does  reproduce  them 
effect  is  frequently 
use  of  old  decora- 
mechanical  relation 
instead  of  being 
calls  for  the  condem- 
Morris  on  almost  all 
own  and  that  of  his 
in  which  the  artist, 


the  engraver,  and  the  printer  have  striven  together,  as  they  did  of  old, 
to  produce  such  beautiful  and  appropriate  results  as  are  to  be  seen  in  the 
books  of  Abbey  and  Parsons,  of  Howard  Pyle,  and  of  Sullivan  and 
Beardsley.  This  old  work  was  mainly  conventional  or  symbolical,  though 
drawn  as  realistically  as  possible;  today  we  have  found  that  realistic 
drawings  decorate  a page  as  well  as  geometrical  forms,  though  the  cubists 
and  purists  do  not  think  so,  and  that  a flower  by  Alfred  Parsons  or  a vase 


OF  BOOK  DECORATION 


389 


HR 


by  Jules  Jacquemart  is  quite  as  decorative  as  a cock-eyed  primitive,  and  infinitely 
superior  to  the  realistic  decoration  which  the  old  men  themselves  used.  While 
as  to  futurist  decoration  it  is  not  to  be  compared  to  the  work — it  won’t  stand  it — 
of  the  masters  from  whom  the  fools  and  blind  stole  it,  though  they  don’t  admit 
they  did  so. 

The  second  reason  for  not  giving  examples  of  old  book  decorations  is  that, 
even  when  not  colored,  they  were  drawn  on  the  wood  but  seldom  engraved  by 
the  artist,  and,  therefore,  are  not  autographic.  Drawings  on  the  wood  from  the 
time  of  Diirer  and  Holbein,  when  intended  for  the  decoration  of  the  text,  were 
more  or  less  conventional,  as  a reference  to  the  etched  work  of  the  same  men  will 
show,  and  as  I have  stated  repeatedly.  The  artist,  when  working  for  the  engraver, 
could,  by  drawing  less  freely,  do  much  to  help  him  to  obtain  accurate  results 
and  to  lighten  his  labor.  As  we  are  often  reminded,  artists  and  craftsmen  then 
worked  together.  Books  were  produced  entirely  by  artists  and  craftsmen  in  a 
workshop,  a beautiful  example  of  which  remains  today  in  the  Plantin  Museum 
at  Antwerp,  with  its  typefounding  rooms,  its  artists’  designing  rooms  and 
designs,  its  printing  presses  and  its  “hutches”  for  tame  authors  and  artists 
and  proof-readers,  the  book  shop  and  the  library — it  was  the  house,  the  home, 
and  the  workshop  of  the  publisher  who  was  not  ashamed  of  his  business  as  are 
some  up-to-date  moderns.  But,  save  that  publishers  and  authors  and  artists  do 
not  live  on  the  premises,  the  same  state  of  affairs,  carried  out  in  a much  broader 
manner  than  even  Plantin  would  have  thought  possible,  was  to  be  found  in  many 
of  the  great  publishing  houses  a few  years  ago.  Today  the  work,  mostly  done 


390 


PEN  DRAWING 


by  union  men,  is  a disgrace,  while  some  business  managers’  most  serious  occu- 
pation is  golf  or  some  other  standardized  fad.  They  sometimes  collect  books, 
which  they  learn  little  from,  though  they  are  forever  talking  of  them  to  take 
your  eyes  from  the  poor  work  they  turn  out.  However,  because  we  see  the 
business  details  and  the  shoppy  working  of  such  firms,  and  because  certain 
others  carrying  on  tradition  have  produced  results  undreamed  of  by  Diirer  or 
Plantin,  only  the  beautiful  side  of  whose  work  survives,  we  are  told  by 
unsuccessful  engravers,  visionary  dreamers,  incompetent  middlemen,  or  mediocre 
illustrators,  that  we  must  go  back  to  the  time  of  Diirer,  that  we  must  give  up 
our  improved  printing  presses,  our  process  work,  our  overlays,  and  our  art  for 
the  people,  though  the  people  are  of  no  importance,  and  return  to  the  work 
which  was  made  only  for  the  few  and  given  to  the  few — to  the  fine  illustrated 
volumes  intended  rather  as  curiosities  for  presentation  to  popes  and  princes 
than  books  which  the  people,  or  even  artists,  should  ever  see.  However,  I am 
afraid  we  must,  or  perish.  Yet  if  this  is  to  be,  why  should  we  stop  with  the 
Renaissance,  with  the  decorative  work  of  Rome,  with  the  mummy  cases  of  Egypt, 
which  show  how  much  more  the  Egyptians  knew  about  painting  than  Giotto, 
or  why  should  we  look  at  the  beauty  of  Greek  art?  Or,  is  there  any  Greek  art;  is 
it  not  all  Diagonals?  Why,  the  reasoning  of  these  people  would  carry  us  back  to 
painting  ourselves  blue  and  drawing  with  a burnt  stick  on  the  walls  of  a cave — 
and  we  are  on  the  high  road  to  that. 

The  great  difference  between  the  conditions  of  early  and  modern  book- 


. . — - - - 

OF  BOOK  DECORATION 


391 


making  is  too  often  lost  sight  of,  and  yet,  without  understanding  it,  it  is  impos- 
sible to  appreciate  the  development  in  illustration  and  decoration  made  a few 
years  ago.  The  old  illustrators  attempted  the  scheme  of  illustration  that  we  have 
carried  out;  they  used  the  same  realism — or  the  same  idealism,  whichever  you 
choose  to  call  it,  for  I suppose  it  is  universally  admitted  that  between  idealism 
and  realism  of  the  best  sort  there  is  no  difference — they  arranged  their  pages  in 
the  same  manner,  what  is  praised  in  their  work  is  condemned  in  ours,  but  they 
had  not  the  same  technical  knowledge  or  the  same  mechanical  facilities.  To 
begin  with,  the  methods  of  the  printer  of  the  fifteenth  century  could  not  be 
applied  to  the  large  editions  of  today.  The  old  books,  which  either  were  chained 
in  one  place  or  were  the  rare  possessions  of  the  great,  could  be  decorated  to 
any  extent;  their  size  was  not  a consideration.  But  if  the  books  of  today — 
intended  for  wide  circulation— were  equally  decorated,  with  every  page  of  text 
enclosed  in  a border  as  in  books  of  the  fifteenth  and  sixteenth  centuries,  they 
would  be  so  swollen  as  to  be  almost  entirely  unmanageable.  They  would  resemble 
those  financial  abortions.  The  Lady  Mother’s  Saturday  Home  Post  or  the  Sunday 
papers,  which  have  to  be  got  rid  of  immediately  to  leave  room  for  the  family  in 
the  town  planned  shack.  This  form  of  decoration  is  regretted  by  a select  few, 
though  even  if  the  old  methods  could  be  applied  to  modern  editions,  they  would 
not  equal  those  now  adopted.  Morris’  presswork  was  not  good.  We  are  told 
much  about  Caxton  and  Diirer,  Holbein  and  Jensen.  But  were  these  men  living 
today,  instead  of  looking  back  to  Gutenberg  and  further  to  the  illuminators 
who  were  his  predecessors,  as  their  imitators  do,  they  would  use  steam  presses 
and  avail  themselves  of  every  appliance  of  mechanics,  science  and  art,  as  they 
did  in  their  own  day,  thus  placing  themselves  far  in  advance  of  their  time  and 


392  PEN  DRAWING 

their  contemporaries.  That  is  what  made  them.  The  draughtsman  today 
who  is  most  in  sympathy  with  Diirer  is  he  who  adapts  his  work  to  the 
methods  of  Theodore  de  Vinne  in  New  York,  or  the  Guillaume  Freres  in 

Paris,  or  the  Constables  and  Clarks  of  Edinburgh. 

It  is  owing  to  the  progressive  men  who  have  not 
spent  their  time  lamenting  the  past  and  mourning 
present  degeneracy,  but  have  always  sought  to 
advance,  though  they  have  pointed  out  this 
degeneracy  and  its  perils,  that  the  world  has 
developed  at  all.  To  have  the  inventions  and 
improvements  of  today  called  bad  because  they 
were  mechanical  impossibilities  three  hundred 
years  ago  is  rubbish;  and  it  is  on  such  rubbish 
that  modern  decorative  art  is  nourished.  Today 
it  is  the  artist  who  wants  to  shirk  work;  the 
engravers  and  printers  who  try  to  do  as  little  as 
they  can  and  get  as  much  as  they  can;  the  art 
editors  who  know  nothing  and  who  are  backed  up 
by  critics  who  know  less,  who  have  caused  disaster. 

For  a time,  about  the  beginning  of  the  last 
century— things  are  worse  now — it  seemed  as  if 
the  art  of  book  decoration  was  dormant.  There 
was  what  was  accepted  as  decoration,  but  it  was 
really  desecration.  Old  books  were  borrowed  from 
unreservedly  and  their  designs  used  without  the 
least  sense  of  fitness  or  proportion,  as  has  always 
been  done,  however,  by  the  cheap  and  nasty 
publisher  and  printer.  The  cheap  editor  is  a product 
of  this  century,  and  especially  of  the  last  few  years. 

A publisher  of  a clothing  catalogue  does  not 
hesitate  to  embellish  his  price  list  with  head  and 
tail  pieces  from  the  Divine  Comedy.  He  employs 
decorators — really  desecrators- — to  scrawl  all  over 
the  inside  and  outside  of  his  catalogue  covers,  and 
to  spread  themselves  unrestrainedly  on  the  pages 
of  the  daily  papers  in  the  most  obnoxious  manner. 

In  the  last  century  this  sort  of  thing  came  to  a 
crisis  in  the  Books  of  Beauty.  The  consequence 


OF  BOOK  DECORATION 


393 


was  that  many  draughtsmen  in  disgust  gave  up  all  attempt 
at  decoration.  But  during  the  eighties  a new  impetus  was 
given  to  the  decoration  of  books — using  the  term  to 
express  the  distinction  I have  pointed  out — and  it  is  to 
this  modern  work  that  I shall  pay  most  attention,  since 
it  alone  was  done  for  reproduction  by  process. 

The  principal  conventional  motives  were  very  early 
evolved  in  every  country,  and  we  have  endeavored  to  make 
little  improvement  upon  them,  and  they  are  still  accepted 
as  standards.  This,  however,  is  far  from  meaning  that  all 
that  is  possible  today  is  to  copy  what  has  already  been 
done.  No  matter  how  conventional  the  treatment,  or  what 
the  motive,  the  decoration  should  have  some  relation  not 
only  to  the  size  and  shape  of  the  page,  but  to  the  subject 
of  the  text.  If  we  surround  our  pages  with  designs  of  the 
sixteenth  century — as  some  draughtsmen  still  do  and 
would  have  all  others  do— which  have  no  relation  to  the 
text,  it  is  not  decoration  but  senseless  display.  Diirer’s 
designs  for  the  Missal  of  Maximilian  might  be  appropriate 
to  a nineteenth  century  prayer-book,  but  there  must  be 
a great  lack  of  ideas  on  the  part  of  the  nineteenth  century 
illustrator  who  cannot  work  into  sixteenth  century  forms 
nineteenth  century  feeling.  Sattler,  the  German,  has  in  the 
right  way,  and  so  have  Anning  Bell  and  Bertram  Goodhue. 

It  is  always  wise  to  go  to  Diirer,  to  Meckenen,  to 
Mantegna,  or  to  any  of  the  illustrators  of  the  fifteenth  and 
sixteenth  centuries  for  motives,  but  to  literally  copy  and 
steal  their  designs  and  to  print  them  on  a modern  page 
reveals  an  absolute  sterility  of  invention,  or  a conserva- 
tive servility  which  is  disgusting,  or  a half  cut  cuteness 
which  is  pathetic — but  it  is  what  we  see  all  around  us.  The  block  of 
the  two  little  angels  carrying  the  crown,  and  St.  George  and  the  Dragon 
show  how  admirably  some  of  Diirer’s  work_ would  be  adapted  to  many 


of  our  needs;  but  on  looking  through  Howard  Pyle’s  Otto  of  the  Silver  Hand , one 
finds  the  little  tailpieces  there  have  much  the  same  motives,  and  are  carried  out 
in  much  the  same  spirit,  and  yet  are  altogether  original  in  subject,  while  they  are 
reproduced  mechanically  in  a way  which  would  have  surprised  Diirer.  There  was 
probably  no  draughtsman  as  successful  as  Howard  Pyle  in  working  in  the  manner 
of  the  sixteenth  century  artists,  always,  however,  adding  something  distinctly 
his  own.  His  mediaeval  tales  gave  him  good  reason  to  adhere  to  the  old  models. 
The  book  I have  just  mentioned  would  not  have  been  so  appropriately  illustrated 
with  designs  less  conventional  in  treatment  and  more  modern  in  feeling;  the 
full  pages,  though  reproduced  by  process,  look  like  old  wood-blocks;  the  head 
and  tail  pieces  at  a glance  might  be  mistaken  for  Diirer’s;  but  Pyle  never  again 
approached  his  Robin  Hood , and  at  the  last  sunk  to  commonplace  and  color, 
but  some  of  his  followers  have  sunk  still  lower.  That  Pyle  knew  how  utterly 
out  of  place  these  designs  would  be  in  books  relating  to  other  periods  is  proved 
by  the  very  different  methods  he  employs  for  other  subjects.  His  Pepper  and 
Salt  gives  an  excellent  idea  of  the  great  extent  of  his  knowledge  and  his  perfect 


understanding  of  the  limitations  and  possibilities  of  the  decoration  of  a page; 
but  his  best  work,  after  all,  is  in  his  Colonial  Illustration,  and  the  best  of  that 
in  Hugh  Wynne , which  is  not  decoration  at  all  according  to  the  decorators.  Yet 
dying,  Pyle  admitted  he  should  have  played  the  game  better,  from  nature  and 
not  from  photographs  and  prints.  He  could  not  teach  most  of  his  pupils  to  do  any 
better;  they  mostly  did  far  worse — they  had  not  his  box  of  tricks,  only  photo- 
graphs. An  equally  good  example  of  the  right  use  of  old  methods  engrafted  on 
modern  work  is  to  be  found  in  the  cover  of  any  number  of  the  Munchener  Kalender , 
if  you  can  find  it.  In  it  again  all  the  old  feeling  is  preserved,  and  yet  there  is  the 
proper  adaptation  to  modern  requirements  in  the  coat-of-arms,  the  eagle,  and 
the  emblems  of  the  printer  by  whom  it  is  issued,  and  the  lettering  also.  But 
still,  I cannot  help  saying  that  such  schemes  of  decoration  as  those  by  Grasset 
are  even  more  appropriate.  In  his  work  we  have,  in  the  first  place,  the  old  deco- 
rative line  in  the  borders;  in  the  center  are  the  charming  little  suggestions  of  a 
picture  carried  out  exactly  in  the  way  the  old  men  would  have  done  it,  realistic 
figures  and  landscape  being  given  in  a shape  which  accords  with,  and  decorates 
and  illustrates  the  page,  for  a realistic  picture  can  be  just  as  decorative  as  any 
number  of  conventional  lines.  The  illustrations  of  the  earlier  illustrators  seem 
conventional  to  us,  simply  because  technical  conditions  allowed  them  less  free- 
dom. I say,  and  I maintain,  that  there  is  no  earthly  reason,  save  narrow,  con- 
servative, hidebound  tradition  or  inability  to  draw,  which  prevents  the  modern 
man  from  producing  decoration  of  this  sort.  Ignorance  of  what  has  been  done 
and  a blind  refusal  to  find  out  or  care,  has  dragged  us  to  cubism,  impotence,  and 
conceit,  the  refuge  of  the  ignorant  and  incompetent.  Grasset’s  designs  are  not 


396 


PEN  DRAWING 


only  well  drawn,  but  are  perfectly  appropriate  in  their  places,  and  they  prove 
Grasset’s  power  to  produce  decoration  which  has  some  relation  to  the  nine- 
teenth century  as  well  as  to  the  Catalogue  of  the  Paris  Salon  which  he  was 


illustrating,  just  as  decorative  illustrations  of  sixteenth  century  artists  had  some 
relation  to  their  time.  The  mixing  up  of  conventionalism  and  realism  in  decora- 
tion is  to  be  found  in  almost  any  old  book. 

But  because  realism  prevails  in  the  decorative  work  of  Alfred  Parsons, 
though  he  was  able  to  draw  flowers  as  no  old  man  ever  drew  them,  not  even  in  the 
Herbals , and  to  fill  his  page  with  the  mingling  of  decoration  and  realism  that 
Diirer  never  dreamt  of,  though  his  line  is  as  beautiful  as  Diirer’s,  are  we  not  to 
use  it,  not  to  study  it?  As  far  as  I can  see,  the  only  reason  why  it  should  be  con- 
sidered not  altogether  right  is  because  it  was  done  in  our  day,  and  because  there 
is  no  one  else  in  the  world  who  can  do  anything  like  it.  It  is  interesting  to  com- 
pare the  block  after  Parsons  in  the  English  Chapter  with  the  designs  by  Walter 


OF  BOOK  DECORATION  397 

Crane  worked  out  in  such  a different  spirit.  The  organic  lines  in  the  latter  are 
very  beautiful,  but  the  Parsons’  plate,  and  also  the  heading  in  Shakespeare’s 
Country,  show  there  is  another  and  newer  way  of  decorative  drawing  which  I, 


for  my  part,  think  a great  deal  better  and  more  appropriate  to  books  published 
today.  The  examples  of  Crane’s  work  are  two  of  a series  of  designs  made,  not 
for  any  special  books,  but  for  Messrs.  Clark,  that  is,  for  trade  headings.  Fine  as 
all  are,  they  have,  with  the  exception  of  two,  absolutely  no  relation,  as  far  as  I 
can  see,  to  the  work  of  the  printer,  the  engraver  or  the  publisher,  and  a design 
should  explain  itself  to  any  one.  They  were  not  intended  to  have  any  relation  to 


p-rrUVj'1 


398 


PEN  DRAWING 

the  text  but  to  be  used  as  stock  blocks  or  stop  gaps  anywhere  they 
would  fit.  On  the  other  hand,  Crane  in  his  Echoes  of  Hellas  has 
really  carried  out  his  idea  of  decoration,  while  the  design  is  appro- 
priate. I simply  want  to  point  out  that  he  seemed  to  object  to 
applying  modern  life  and  feeling  to  decoration.  I am  here  referring 
only  to  his  pen  drawing.  The  only  notable  examples  in  which  he 
has  succeeded  in  doing  this  are  the  old  cover  of  St.  Nicholas  and 
the  cover  of  the  Chants  of  Labor.  But  even  in  them  there  is  a 
conventionality  for  which  there  is  no  necessity.  I do  not  consider 
that  conventional  or  geometrical  lines  are  more  decorative  than 
any  others;  and  this  Parsons’  work  proves,  as  also  that  of  men  like 


Caran  D’Ache  and  Mars  and  Sullivan,  who  worked  the 
life  of  today  into  their  initials  and  decorations  instead  of 
trying  to  copy  old  conventions.  Look  at  the  swallow  by 
Habert-Dys,  or  the  tailpieces  by  Unger,  and  the  designs 
by  Stuck  and  Bracquemond. 

Franz  Stuck  is  not  only  a mystic  and  a comic 
draughtsman,  but  a man  who  turns  his  undoubted  talents  to  very  practical 
purposes.  Menus  and  invitations,  show  cards  and  advertisements  he  produces  in 
such  number  that  one  would  be  bored  with  them  if  it  were  not  for  their  unceasing 
variety.  But  his  drawing  does  not  struggle  with  mediaevalism;  and  he  prefers 
the  latest  process  perfection  to  the  earliest  woodcut  imperfection. 


OF  BOOK  DECORATION  399 

Otto  Greiner’s  work  showed  how 
impossible  it  is  for  the  German  to 
get  away  Irom  the  Diirer  tradition. 

No  matter  how  modern  the  greater 
part  of  the  design  is,  the  general 
arrangement  is  quite  as  traditional 
as  the  helmet  which  Diirer  himself 
copied  from  the  Memorial  Stone  in 
the  local  churchyard.  Greiner  died  for 
his  country  early  in  the  war,  and  he 
was  worth  to  that  country  a regiment 
of  major  generals  who  did  not  die. 

The  silhouetting  of  white  on  black  is 
not  an  easy  matter,  but  Otto  Seitz 
has  accomplished  it  well,  carrying  out 
in  process  the  traditions  of  the  early 
printers  like  Radholt,  producing  very 
interesting  results.  J.  Sattler,  too,  has 
been  most  amusing  in  this  way.  He 
has  gained  the  leading  place  in  Ger- 
many, a great  draughtsman,  a great 
technician. 

Each  number  of  the  The  English 
Illustrated  Magazine  contained  repro- 
ductions of  old  work  and  new  designs 
which  were  appropriate  to,  and 
specially  designed  for,  the  articles 
they  decorated.  I refer  to  this  maga- 
zine when  it  was  published  by  Messrs. 

Macmillan.  Caldecott  and  Herbert 
Rail  ton  and  Hugh  Thomson,  the 
latter  two  in  their  Coaching  Ways  and 
Coaching  Days,  made  head  and  tail 
pieces  which  were  most  appropriate, 
as  well  as  good  in  design.  But  the 
best  decorative  work  in  the  English 
Illustrated  is  to  be  seen  in  many  draw- 
ings by  Alfred  Parsons,  Heywood 
Sumner,  and  Henry  Ryland.  To  my 
mind  Heywood  Sumner’s  illustrations 
to  his  article  on  Undine  are  the  most  beautiful  decorations  it  has  published. 
And  if  all  of  his  drawings  are  worked  out  in  a more  quaint  than  decorative 


style,  they  often  convey  the  ideas  of  the  life,  character,  and  feeling  of  the  time 
and  country  he  was  illustrating  or  decorating,  though  sometimes,  notably  in  The 
Besom-Maker,  he  seems  to  have  striven  only  to  perpetuate  the  imperfections 
and  crudities. 

A group  of  artists  in  England  who  persistently  set  themselves  up  as  con- 
ventional decorators  were  the  members  of  the.  Century  Guild.  Selwyn  Image, 
Arthur  Mackmurdo,  and  Herbert  Horne  are  the  best  known  of  them;  they  make 
no  use  of  any  of  the  adjuncts  with  which  science  has  in  our  time  furnished  the 
bookmaker.  The  full-page  drawing  of  Diana  is  so  remarkably  well  drawn  that 
one  sees,  if  it  were  not  that  Herbert  Horne  refused  to  make  himself  compre- 
hensible to  the  ordinary  mortal,  he  might  easily  have  done  much  good  to  illus- 
tration, and  fill  a far  wider  sphere  than  the  narrow  niche  in  which  he  deliberately 
placed  himself.  It  would  be  difficult  to  explain  in  what  way  art  is  served  by  using 
bad  paper;  and  from  the  standpoint  of  printing  illustrations,  the  paper  of  the 
Hobby-Horse  is  thoroughly  bad,  so  is  that  of  most  other  English  journals,  most 
handmade  papers  being  unsuitable  for  the  printing  of  pen  drawings,  or 
any  illustrations  printed  from  blocks.  The  initial  by  Horne  is  of  equal  value 
with  that  by  Bridwell,  given  farther  on,  but  it  is  no  better.  The  tailpiece  also  is 
extremely  good;  that  is,  the  spaces  are  well  kept.  It  may  have  some  hidden  mean- 
ing; to  me,  however,  its  only  meaning  is  the  beauty  of  line.  Nor  do  I understand 


402 


PEN  DRAWING 


the  printing  of  the  Hobby-Horse  page;  it  is  very  good  as  a mass,  but  very  bad  for 
practical  purposes;  that  is,  for  reading.  In  many  of  the  decorative  designs, 
notably  the  cover  by  Selwyn  Image,  I fail  to  grasp  the  significance  or  to  discover 
any  relation  to  any  age;  and  certainly,  if  Diirer  was  right,  the  Hobby-Horse  men 
are  all  wrong.  All  this  applies  to  The  Imprint  and  similar  momentary  ventures. 
I prefer  to  believe  that  a man  like  Albert  Diirer,  whose  work  was  understood  by 
the  people  of  his  age,  or  Parsons,  whose  work  is  understood  by  those  of  today, 
really  does  more  good  than  one  whose  designs  can  only  be  made  intelligible  by  a 
continual  reference  to  a history  of  symbolism.  Ricketts  and  Shannon,  too,  have 
made  a name  for  themselves  in  The  Dial  and  at  the  Vale  Press,  and  so  has  J.  E. 
Guthrie,  reviving  the  methods  of  Blake  in  his  own  fashion,  while  Pissarro  and 
any  number  of  others  strive  for  their  ideals  at  little  presses  in  little  towns.  Here 
Bertram  Goodhue  in  his  borders  lor  The  Altar  Book  and  The  Pastoral  Staff  has  far 
surpassed  Morris  in  his  drawings  and  borders;  he  has  designed  good  type;  the 
illustrations  are  reproduced  by  process  and  printed  by  steam.  Has  made  in  the 
same  way  most  notable  decorative  designs  for  schoolbooks. 

Those  who  have  strong  faith  in  the  degeneracy  of  modern  art  often  con- 
tend that  we  cannot  make  purely  decorative  initials  equal  to  those  of  the  men 
of  the  sixteenth  century.  That  the  initials  of  the  old  men  were  very  beautiful 
and  very  decorative  no  one  would  be  foolish  enough  to  deny.  That  in  the  original 
drawings  there  was  more  refinement  than  could  be  given  in  the  woodcuts,  we 
know  from  the  blocks  with  the  drawings  on  them  uncut,  and  now  to  be  seen  in 
the  Plantin  Museum.  This  work  is  very  much  like  modern  pen  drawing,  and 
would  be  reviled  was  its  existence  known  to  them  by  those  who  now  can  mostly 
praise  only  the  very  bad  reproductions  of  that  early  period.  Indeed,  there  is  no 


OF  BOOK  DECORATION 


403 


better  proof  of  the  fact  that,  before  the  days  of  process,  much  of  the  draughts- 
man’s work  was  lost  in  the  cutting,  than  a comparison  between  these  drawings  on 
the  block  and  the  printed  initials  of  the  same  date,  while  the  realistic  treatment 
in  the  original  drawing  also  shows  that  much  of  the  old  conventionalism  was  due 
to  the  limitations  of  the  wood-cutter.  But  that  the  designing  of  initials  is  not  a 
lost  art  is  demonstrated  by  reference  to  the  work  by  Bridwell,  Gowdy,  Rogers, 
and  the  Century  Guild  artists.  They  are  quite  equal  to  any  initials  ever  designed. 
The  actual  drawing  in  Bridwell’s  lines  might  in  places  be  somewhat  firmer,  but 
it  must  be  admitted  that  some  of  Diirer’s  work  of  this  kind  is  about  as  slovenly 
as  possible.  Take  Bridwell’s  letter  S;  for  an  initial  to  decorate  an  article  on  nature, 
or  more  especially  on  a pine  wood,  could  anything  be  more  appropriate?  And 
it  is  utterly  and  entirely  different  in  motive  from  the  other;  one  is  classic,  while 
the  other  shows  the  free  motive  of  the  Japanese.  Gowdy  and  Rogers  are  as 
decorative  and  much  more  correct. 

It  is  quite  as  admissible  to  use  Japanese  as  classical  motives,  if  we  can  adapt 
them  to  our  purpose,  as  Bracquemond  has;  on  the  other  hand,  Regamey  is 
always  purely  the  European  who  attempts  to  be  Japanese,  rather  then  engraft 
European  ideas  on  Japanese  motives  as  Whistler  did  in  his  paintings. 

Among  all  the  men  who  have  used  Japanese  suggestions,  there  is  not  one 
who  has  yet  succeeded  better  than  Habert-Dys.  I confess  I do  not  like  the 
circular  form  of  this  design,  because  it  is  impossible  to  properly  build  it  into  the 
type,  and  though  I grant,  from  this  point  of  view,  it  is  imperfect,  it  contains  so 
many  beautiful  lines  and  so  many  good  qualities  that  I do  not  hesitate  to  use  it. 


Another  method  of  work  adopted  by  Habert-Dys  is  his  decorative  treatment  of 
birds.  He  most  probably  got  his  idea  from  Giacomelli,  but  he  has  improved  on 
it  and  has  added  the  Japanese  feeling  to  the  whole  composition,  which  has  been 
copied  all  over  the  world.  F.  S.  Church,  too,  has  worked  out  this  idea,  but  I do 
not  think  really  as  well  as  Habert-Dys.  The  little  drawings  of  a cock-fight  by 
Renouard  are  as  Japanese  as  they  can  be,  but  yet  no  Jap  would  have  drawn 
them  exactly  like  this.  They  are  as  French  as  they  are  Japanese.  Edgar  Wilson’s 
work,  too,  was  absolutely  based  on  the  Japanese,  and  in  another  fashion  there 
were  Beardsley’s  head  and  tail  pieces  for  the  Morte  d'  Arthur  and  E.  H.  New’s 
for  Walton  s Angler.  I cannot  even  name  the  imitators  or  followers. 

Direct  copying  is,  I insist,  always  bad,  but  in  the  initial  and  tailpiece  by 


Bracquemond  there  is  most  skillful  combination  of  German  and  Japanese,  while 
the  whole  result  is  French.  Not  only  the  age  but  a country’s  national  character- 
istics can  be  easily  expressed  in  book  decoration.  The  two  designs  by  E.  Unger 
are  as  German  as  they  possibly  can  be.  A good  deal  of  the  tree  drawing  is  bad 
and  careless,  though  much  of  this  may  be  due  to  the  wood-cutting,  for  it  was 
drawn  on  wood.  But  the  spaces  are  well  filled;  there  is  absolutely  no  mistaking 
the  Munich  model  who  has  posed  for  the  figure.  The  same  can  be  said  of  the 
drawing  by  Walter  Crane  for  the  Chants  of  Labor , to  which  I have  already  called 
attention,  where  the  workman  is  most  characteristically  an  Englishman,  and 
where  the  whole  space  is  better  filled  than  in  the  example  of  Unger’s  work,  and 
the  design  is  a great  deal  more  appropriate,  for  Unger’s  was  made  to  be  used  as 


/ 


406  PEN  DRAWING 

a headpiece  in  Universum  very  much  in  the  same  manner  as  Walter  Crane’s 
designs  were  drawn  for  Messrs.  Clark. 

I have  said  nothing  as  yet  about  decorative  lettering.  The  pages  of  manu- 
scripts and  early  printed  books  are  often  held  up  as  models;  but  effective  as  they 
are  from  a decorative  standpoint,  they  are  only  too  frequently  extremely  difficult 
to  read,  and,  whatever  books  may  have  been  to  their  owners  in  the  fifteenth  and 
sixteenth  centuries,  they  today  are  intended  above  all  to  be  read.  Those  who 
believe  decoration  must  be  primarily  useful  cannot  but  admit  that  a legible  page 
is  of  far  more  value  than  a beautiful  page  which  is  unreadable.  The  manuscripts 
are  often,  in  their  lettering,  far  more  beautiful  than  any  printed  books.  But 
the  men  who  are  held  up  today  as  masters  of  book  decoration  were  only  too 
ready  to  sacrifice  this  beauty  in  order  to  make  use  of  the  invention  of  printing, 
and  by  it  to  save  time  and  labor.  The  profession  of  the  scribe  was  doomed  from  the 


T.  M.  Cleland.  From  Mathematics,  published  by 
Ginn  & Co.  Realism  and  decoration  worked  out  in  a 
harmonious  fashion. 


OF  BOOK  DECORATION  407 

moment  the  first  printed  book  was  published.  Just  as  the  illustrators  after  Guten- 
berg recognized  the  folly  of  having  the  text,  which  accompanied  their  drawings, 
cut  on  wood  instead  of  being  cast  in  type,  so  it  would  be  useless  for  the  illus- 
trator of  the  modern  magazine  to  seek  to  return  to  the  methods  of  the  first 
printers.  There  is  not  much  doubt  that  a book  with  all  the  lettering  reproduced 
from  manuscripts  would  be  much  more  trying  for  readers  than  a book  with  all 
the  text  set  up  in  type.  However,  for  an  occasional  page  or  for  a title  page,  the 
artists’  lettering  instead  of  the  ordinary  type  is  very  charming.  Walter  Crane 
worked  probably  to  a greater  extent  than  any  one  else  in  this  manner;  now  there 
are  many  following  him.  But  I do  not  altogether  like  his  lettering;  it  is  nearly 
always  the  same;  it  is  not  easy  to  read,  and  I do  not  think  it  is  well  spaced. 
Compare  the  sameness  of  his  or  Heywood  Sumner’s  or  Lewis  Day’s  lettering 
with  the  infinite  variety  used  by  Alfred  Parsons  or  Howard  Pyle  or  Alfred 


From  same  series.  Good  use  of  metal  engraver’s 
line  and  type,  forming  decorative  whole 


408 


PEN  DRAWING 


Rene  Clark.  Large  drawing,  made  for  use  on  one 
or  two  pages;  also,  in  most  cases,  printed  in  color 


Brennan.  The  latter  vary  their  lettering  to  suit  their  text,  and  this  Walter  Crane 
and  Hey  wood  Sumner  never  do,  nor  do  some  of  the  precious  modern  scribes  either. 
Nor  do  they  even  draw  it  carefully.  Though  they  believe  type  and  decoration 
to  be  of  equal  importance,  they  slight  the  lettering.  Morris  bore  me  no  ill 
will  for  my  right  views,  for  he  lent  me,  alone,  for  this  book,  examples  of  his  work, 
which  were  intended  to  refute  me.  But  how  much  better  are  the  Merrymount 
Press  books,  reproduced  by  process  and  printed  in  modern  fashion.  The  illus- 
trations by  Bell  and  Goodhue  for  The  Altar  Book  and  The  Pastoral  Staff , the  best 
decorated  books  made  in  America,  in  which  the  old  tradition  is  carried  on  and 
the  old  decoration  carried  out,  are  better  than  Morris,  and  drawn  with  a pen  and 
reproduced  by  process,  done  not  in  slavish  imitation,  but  with  thorough 
knowledge  of  modern  methods. 

Many  examples  of  good,  conventional,  decorative  work  I cannot  give, 
simply  because  they  were  designed  for  pages  of  a certain  size  and  shape,  and, 
therefore,  would  not  be  seen  here  in  their  proper  relations,  and  justice  could  not 
be  done  to  them.  I can,  however,  refer  the  student  to  almost  all  American  artists  or 
other  draughtsmen  who  used  to  contribute  to  American  magazines.  Reginald 
Birch  has  done  much  work  which  is  filled  with  the  feeling  of  the  German  Renais- 
sance developed  by  study  in  Munich.  Ludwig  S.  Ipsen  has  brought  his  knowledge 
of  Celtic  art  to  the  decoration  of  American  books,  where,  however,  one  feels  it  to 


OF  BOOK  DECORATION 


409 


Fine  use  of  line  and  tone.  There  is  no  black  in  the 
drawing,  yet  the  block  is  full  of  color  and  prints  well 


be  a foreign  element.  Roger  Riordan’s  designs  for  stained  glass  ought  to  be  men- 
tioned in  this  connection,  for,  reproduced  in  black  and  white,  they  become  beau- 
tiful page  decorations.  George  Wharton  Edwards’  decorative  pen  work  is  fre- 
quently very  good,  though  it  is  not  always  very  telling.  It  would  be  an  unpar- 
donable omission  to  leave  out  Elihu  Vedder,  the  greatest  American  decorator,  if 
I were  concerned  with  all  forms  of  book  decoration.  But  I am  only  treating  of 
pen  work,  and  Vedder  seldom  works  with  a pen,  nor  is  his  brush  work  carried 
out  with  the  pen  feeling,  while  W.  H.  Bradley  for  a while  ably  carried  on  tra- 
dition in  The  Inland  Printer.  In  France  the  late  Paul  Baudry  did  some  very  fine 
book  decoration,  but  his  life  was  not  devoted  to  this  work,  of  which  he  has  left 
comparatively  few  examples.  Much  the  same  can  be  said  of  Luc  Ollivier  Merson, 
whose  drawings  from  his  paintings  are  very  decorative  in  feeling.  In  Germany 
there  is  an  endless  number  of  draughtsmen  who  use  the  work  of  Diirer  to  a 
greater  or  less  degree,  copying  it  without  the  least  attempt  to  adapt  it  to  the 
special  subjects  they  are  illustrating.  But  I cannot  attempt  to  give  a complete 
list  of  the  decorators  for  the  simple  reason  that  all  illustrators  are  decorators. 

Decoration  is  appropriateness,  and  it  really  makes  no  difference  whether  it 
is  realistic  or  conventional  so  long  as  it  improves  the  appearance  of  the  page. 
But  at  the  same  time  I consider  the  modern  thoroughly  developed  realistic  work 
in  its  best  form  superior  to  that  of  the  old  men,  because  it  shows  most  plainly 


410 


PEN  DRAWING 


Will  H.  Bradley.  Bradley,  under  the  inspiration  and  the  time  of 
Beardsley,  did  much  good  work,  but  for  years  he  has  done  little  or  nothing. 

His  drawings  are  good  in  line  and  mass.  The  best  are  in  Will  Bradley  His 
Book. 

the  advances  we  have  made  in  knowledge  and  technique.  However,  I cannot 
conceive  how  a liberal-minded  person  can  fail  to  appreciate  the  fine  qualities 
contained  in  the  two  drawings  of  birds  by  Habert-Dys  and  Herbert  Horne,  one 
done  with  all  the  feeling  of  the  nineteenth  century;  the  other,  good  as  it  is,  but  a 
copy  of  the  sixteenth.  Both  are  equally  decorative,  while  Manet’s  rendering  of 
Poe’s  Raven  is  most  decorative  of  all. 

Nowhere  for  a moment  will  such  a statement  be  questioned,  except  in  this 
country.  But  here,  within  the  last  thirty  years,  people  have  been  continually 


OF  BOOK  DECORATION 


411 


R.  Ruzicka.  This  artist  has  mostly  made  woodcuts, 
but  he  understands  decorative  pen  drawing,  as  this  proves. 

There  was  wash  work  on  the  church  and  foreground,  and 
this  was  printed  in  color. 

taught  to  believe  that  book  decoration,  like  all  other  art  work,  to  be  artistic 
must  have  a spiritual,  moral,  social,  political,  uplifting,  literary,  or  sixteenth- 
century  value  with  large  cash  rewards,  while  beauty  of  line  and  perfection  of 
execution  have  been  subordinated  to  these  qualities;  as  a result  the  many  pay 
no  attention  to  the  real  artistic  merits  or  defects  of  a drawing,  but  simply  con- 
sider it  from  an  entirely  inartistic  standpoint.  The  excuse  is  the  elevation  of  the 
masses  and  the  reformation  of  the  classes.  Art  will  never  accomplish  either  of 
these  desirable  ends,  its  only  function  being  to  give  pleasure,  but  this  pleasure 
will  be  obtained  from  good  work  produced  in  any  fashion.  If  the  work  is  equally 
well,  or,  as  usually  happens,  better  done  in  a modern  style,  it  will  give  more 
pleasure  to  a greater  number,  simply  because  it  will  be  far  more  widely  under- 


412  PEN  DRAWING 

stood.  Another  reason  for  the  use  of  pen  drawing  for  book  decoration  is  because 
the  pen  line  harmonizes  with  the  line  of  the  type,  and  is,  therefore,  right  and 
appropriate;  il  the  line  is  good  in  drawing  it  decorates  and  illustrates  the 
pages  ol  letterpress,  as  wash  work  does  not.  And  this  has  been  so  from  the 
time  of  the  block  books  and  of  the  Chinese.  The  divorce  between  type  and 
drawings  began  with  Bewick  and  his  wood-engravings  resembling  steel.  The 
modern  photo-engraved  pen  line  is  more  in  harmony  with  type  than  anything  else. 
There  are  two  other  reasons:  the  old  presses  would  not  print  lines  such  as  the 
modern  illustrator  makes,  and  further,  the  old  illustrator  did  not  make  such 
lines  as  we  do,  such  varied  lines,  because  there  was  no  way  of  engraving  them 
to  print  with  type.  But  because  now  we  can  draw,  engrave,  and  print  in  a way 
the  old  men  knew  nothing  about  are  we  not  to  do  so?  They  were  not  so  much 
tied  down  by  convention  as  by  mechanical  difficulties.  Thanks  to  the  men  whose 
work  is  shown  in  this  book,  we  are  free  and  can  work  as  we  wish  in  the  luture. 


OF  MATERIALS  FOR  PEN  DRAWING  CHAPTER  XII 

THE  making  of  a pen  drawing  is  the  simplest  process  possible.  Only  a 
few  things  are  necessary  besides  the  rather  indispensable  qualification, 
ability  to  draw.  A piece  of  white  paper;  a hard  lead  pencil,  a knife 
and  a rubber;  a pen  and  a bottle  of  ink. 

First,  as  to  the  paper:  the  photo-engraver  will  tell  you  that  the  only  paper 
to  be  used  is  hard  white  Bristol  board,  which  is  excellent,  and  can  be  worked  on 
more  freely  with  less  practice  than  any  other  paper.  When  I say  with  less  practice, 
I mean  you  must  have  just  about  the  same  amount  as  a great  violinist  has 
before  he  appears  in  public.  The  comparison  is  not  out  of  place,  for  there  are  not 
more  great  pen  draughtsmen  than  there  are  great  violinists.  There  are  far  fewer 
than  fiddlers  who  advertise  themselves  to  be  great.  I do  not  know  if  today  there 
are  any  great  artists  in  either  profession — though  fiddling  is  not  an  art — any 
more  than  photography,  which  it  resembles.  Bristol  board  is  clumsy  to  take  about, 
for  when  it  is  more  than  two  sheets  in  thickness  it  will  not  roll  without  breaking. 
With  good  Bristol  board  and  good  black  ink,  and  great  practice,  you  ought  to  be 
able  to  draw  as  freely  in  any  direction  as  with  a needle  on  an  etching  plate. 
Just  as  you  are  making  a line  the  ink  gives  out,  with  the  etching  point  you  can 
carry  on.  But  you  cannot  do  this  after  six  weeks’  or  even  six  months’  work  in  a 
correspondence  school  or  get-rich-quick  college.  The  chances  are  you  will  never 
be  able  to.  Vierge  often  used  Bristol  board.  Probably  the  next  easiest  paper  to 
draw  on  with  a pen  is  London  board,  which  is  Whatman  paper  pressed  and 
mounted  into  boards.  It  is  usually  very  good,  but  you  must  be  very  careful  to 
get  it  from  a reliable  dealer,  or  you  will  be  sure  to  find  soft  places,  where  you 
will  get  blots.  Any  thin,  smooth  paper,  mounted  and  pressed,  is  good.  Hard, 
smooth,  thin  writing  paper  without  any  lines  or  water  marks  is  most  useful,  and 
equal  to  Bristol  board.  A great  convenience  is  that  in  making  a tracing  from 
a sketch  in  which  you  may  wish  to  preserve  the  fresh  feeling,  you  can  fasten 
a sheet  of  thin  correspondence  paper  over  your  sketch,  and  the  paper  being  thin, 
you  can  see  the  drawing  through  it  and  work  on  top  of  it.  Lalanne  used  this 
paper.  Another  paper  is  good,  hard  Whatman  with  a slight  grain.  The  photo- 
engraver will  object  to  this,  but  in  the  reproduction  the  result  is  a broken  line, 
which  gives  a richness  to  be  had  in  no  other  way.  These  are  matters  on  which 
most  writers  on  art  would  give  very  explicit  and  elaborate  directions.  But  all  I 
have  to  say  is,  if  you  use  Whatman  paper,  get  whatever  kind  or  quality  suits 
you  best.  It  is  very  hard  to  work  on  at  first,  because  the  pen  catches  in  the 
grain,  splutters  and  drags  over  the  paper,  and  often  runs  into  it,  making  a great 
blot  difficult  to  erase.  It  may  be  well  to  note  that  to  remove  blots,  or  to  tone 
down  lines  that  are  too  hard,  a very  useful  instrument  is  a razor;  though  there 
is  a French  eraser  with  a curved  blade  made  for  working  on  papier  Gillot , which 
is  still  better,  and  Gillette  blades,  when  not  standardizing  American  faces,  are 
useful  for  a minute.  The  simplest  plan  is  to  paste  a piece  of  paper  over  the  blot, 
and  to  join  the  lines  at  the  edges.  A neater  way  is  to  cut  a somewhat  larger  hole 


414 


PEN  DRAWING 

in  the  paper  and  paste  a piece  on  from  the  back,  or  to  use  ink  erasing  rubber. 
Crayon  papers  are  used  most  cleverly  by  Frenchmen,  Forain  and  Steinlen,  and 
by  Americans,  especially  by  their  imitators.  Part  of  the  drawing,  which  is 
usually  large  and  bold,  is  put  in  with  lithographic  crayon,  or  crayon  conte , some 
of  the  blacks  with  a brush,  and  delicate  work  with  a pen.  The  grain  leaves  ridges 
in  the  crayon  marks,  which  reproduce  white.  No  attempt  must  be  made  to  use 
stump,  or  to  get  an  even  tone  by  filling  up  these  accidental  whites.  The  result 
is  like  a charcoal  drawing  with  pen  work  on  it.  There  are  various  sorts  of  grained 
paper,  papier  Gillot  and  Ross  paper , the  most  popular  being  that  with  a horizontal 
line  printed  on  it,  which  may  be  taken  for  the  middle  tone,  as  on  a grey-toned 
paper;  on  scratching  this  with  a sharp  knife,  either  before  or  after  you  have  drawn 
on  it,  a vertical  line  in  white  appears,  doubling  the  lightness  of  the  light  tone;  this 
may  be  again  scratched  into  pure  white.  There  are  three  difficulties  in  using  it. 
One  is  that  the  effect  of  these  mechanical  lines  in  the  paper  is  always  more  or 
less  mechanical;  another,  that  the  drawing  cannot  be  reduced  in  size  very  much 
without  blurring  and  indistinctness;  and  the  third  is  that  there  is  a great  tendency 
to  blots.  This  paper  has  been  most  successfully  managed  by  Casanova,  one  of 
whose  drawings  made  on  it  is  reproduced  in  the  Spanish  Chapter.  Adrien  Marie 
and  Montalti  have  also  used  it  very  cleverly,  and  on  it  Adolf  Ringel  can  perfectly 
reproduce  his  own  bronzes;  his  drawings  are  in  the  French  Chapter.  I have  tried 
enough  just  to  know  how  difficult  and  unsatisfactory  the  paper  is.  It  is  to  be  had 
from  almost  all  the  French  photo-engraving  houses  in  Paris  and  the  Ross  people 
here,  but  the  price  is  now  prohibitive.  There  are  numerous  varieties;  some  have 
dots,  some  lines,  and  some  chalky  surfaces  on  which  you  draw,  or  try  to  draw, 
and  then  lighten  your  drawing  by  scratching.  You  can  also  wash  with  color  and 
scratch  through  it.  Personally,  I do  not  care  for  drawings  made  on  these  papers, 
with  the  exception  of  those  of  Vierge  and  Casanova,  who  seem  to  have  succeed- 
ed perfectly,  as  with  everything.  Some  of  the  drawings  in  Pablo  de  Segovie  seem 
to  have  been  made  on  paper  of  this  kind,  though  the  white  lines  may  have  been 
cut  through  by  the  engraver.  However,  such  draughtsmen  as  Rico  and  Abbey 
used  ordinary  white  paper.  Abbey  liked  old  Whatman  mounted,  and  so  do  I. 

The  even  mechanical  grain  in  the  background  to  many  drawings  is  not  put 
on  by  the  artist,  but  by  the  photo-engraver.  The  artist  indicates  with  a blue 
pencil  the  place  where  he  wishes  it  to  be  applied,  and  the  engraver  puts  it  on. 
The  tint  is  made  by  inking  a ruled  or  dotted  sheet  of  rubber  and  pressing  that 
on  the  drawing  or  on  the  plate.  This  is  known  as  the  Ben  Day  process.  Often  a 
very  good  effect  may  be  obtained  in  this  way,  though  it  is  always  mechanical. 

Of  the  second  necessary,  a hard  lead  pencil,  all  I shall  say  is  that  you  will 
want  it,  as  well  as  a rubber;  why,  I shall  explain  farther  on,  and  how  to  use  it. 

With  the  pen  as  with  the  paper,  find  out  what  suits  you,  and  then  use  it. 
Half  a dozen  different  kinds  are  often  used  on  the  same  drawing.  The  most 
useful  all-round  pen  I know  of  is  Gillott’s  Lithographic  Crow  Quill,  No.  659, 


OF  MATERIALS  FOR  PEN  DRAWING  415 

which,  when  once  you  have  mastered  it,  works  with  the  utmost  freedom,  from 
the  boldest  to  the  most  delicate  line.  It  is  almost  like  a living  thing;  it  springs 
and  responds  to  every  impulse  of  your  hand,  and  is  vastly  more  pleasant  than 
the  etching  needle.  There  are  many  other  crow  quill  pens.  A “J”  pen  is  very 
useful  at  times.  In  fact,  any  pen  you  like  is  right,  and  what  you  ought  to  use. 
An  ordinary  sharp  school  pen  is  as  good  as  anything  you  can  get.  A quill  pen 
works  beautifully  in  any  direction,  no  matter  how  you  hold  it,  and  you  can 
almost  wash  with  the  back  of  it,  as  if  it  were  a brush.  Vierge,  who  tried  every- 
thing, and  men  who  have  made  pen  and  ink  copies  of  Corot’s  pictures  in  order 
to  get  something  of  their  softness,  have  worked  with  a double-lined  pen,  but  of 
this  I have  had  no  practical  experience.  Sometimes  a quill  pen  will  wear  so  that 
you  can  make  this  double  line  with  it.  The  author  of  the  Excellency  of  the  Pen 
and  Pencil , published  in  1668,  recommends  “pens  made  of  a raven’s  quill,’’  but 
for  the  truth  of  this  I cannot  answer.  I now  use  various  sorts  of  stylographic 
and  fountain  pens,  which  are  pretty  good.  But  I have  found  that,  unless  charged 
with  a very  watery  writing  fluid  which  is  sold  with  them,  but  does  not  answer 
for  drawing,  they  do  not  always  work  well — or  the  ink  does  not.  A reed  pen  is 
often  most  excellent,  and  Perry’s  auto-stylo,  which  makes  large  square  touches 
like  a brush,  is  delightful.  But  the  longer  I work,  the  less  important  seem  to  me 
to  be  the  tools  so  long  as  they  serve  my  purpose — the  more  important  the  care 
one  should  bestow  on  each  line  of  every  drawing.  Brushes,  too,  may  be  employed 
either  alone  or  with  the  pen;  the  more  they  are  used  the  better.  The  Chinese  and 
Japanese  have  always  used  brushes  for  drawing  and  writing.  They  are  of  all 
shapes  and  sizes.  The  finest  and  most  perfect  line  work  can  be  done  with  them, 
as  the  Japanese  Chapter,  or  any  Japanese  book  proves,  while  the  same  brush, 
heavily  charged  with  ink,  can  be  used  for  washes;  and  when  it  becomes  half 
dry  and  is  dragged  about  all  sorts  of  variety  of  tone  and  texture  will  be  got, 
qualities  which  can  be  obtained  in  no  other  way.  But  all  this  requires  the  knowl- 
edge of  a lifetime,  as  Hokusai  said  at  ninety,  he  was  “just  learning  to  draw.” 
The  Japanese  are  craftsmen,  and  are  really  trained.  The  paper  or  silk  they  draw 
on,  must  be  drawn  on  rightly;  each  touch,  each  line  must  be  right,  for  it  is 
almost  impossible  to  make  corrections;  washes  cannot  be  laid  over  washes  and 
lines  cannot  be  erased  without  not  only  ruining  the  design  but  the  paper  it  is 
drawn  on.  This  has  made  the  artists  exercise  the  greatest  care  and  the  greatest 
skill.  Everything  with  them — from  their  point  of  view — must  be  right  as  they 
draw  it.  With  them  the  work  is  finished  from  the  beginning.  They  know  absolutely 
what  they  want  to  do  and  are  perfectly  able  to  do  it.  Their  limitations  are  strict 
and  as  absolute  as  those  of  the  old  craftsmen.  By  carrying  on  tradition,  they 
have  made  themselves  the  greatest  craftsmen  of  our  day.  It  is  by  self-restraint, 
self-imposed  restraint,  that  the  greatest  men  of  all  time  have  done  great  work. 
We  can  have  anything  reproduced  today,  and  that  is  why  we  have  so  little  that 


416 


PEN  DRAWING 

is  good.  We  lack  training,  knowledge,  care,  which  mean  art;  we  have  hustle, 
dash,  splash,  which  mean  artlessness.  But  we  don’t  see  the  difference. 

To  know  what  good  ink  is,  and  then  to  get  it,  means  ease  in  drawing  and 
success  in  reproduction.  Higgins’  American  Drawing  Ink  is  the  best  today. 
Encre  de  Chine  Liquide  is  very  good,  but  I do  not  think  it  equals  Higgins’  ink. 
Liquid  lamp  black  is  a dead  black  and  has  no  shine,  and  therefore  reproduces 
well.  Theoretically,  India  ink  is  admirable.  But  it  not  only  shines,  which  is 
unsuitable  for  photo-engraving,  but  it  is  tedious  to  grind  it  down,  and  almost 
impossible  to  keep  it  a uniform  black.  Almost  all  the  preparations  I know  of 
are  abominable.  Brown  inks  are  pretty  to  look  at,  but  utterly  worthless  for  repro- 
duction, because  the  delicate  brown  tone  is  lost,  as  your  drawing  is  nearly 
always  printed  in  black,  not  in  brown.  Ordinary  writing  ink  at  times  is  excellent; 
at  times  worthless.  The  old  men  must  have  used  writing  ink. 

I do  not  think  there  is  any  other  recommendation  to  be  made,  except  to 
insist  on  the  fact  that  good  materials  must  be  used  if  good  results  are  wanted. 
But  enough  materials  to  make  several  pen  drawings  can  be  had  even  now  for 
fifty  cents. 


OF  TECHNICAL  SUGGESTIONS  FOR  PEN  DRAWING  CHAPTER  XIII 

MOST  writers  on  any  branch  of  art  begin  by  laying  down  definite  laws 
for  working.  Hamerton,  in  Etching  and  Etchers , says  that  the  great 
value  in  an  etching  depends  upon  the  etcher’s  own  individuality  in 
his  method  of  work,  and  he  is  right,  but  then  goes  on  to  give,  in  the 
most  clear  and  lucid  manner,  directions  for  making  an  etching.  I faithfully  long 
ago  followed  Hamerton’s  suggestions,  and  I know  into  what  quagmires  they  led  me; 
not  altogether  from  any  fault  of  his,  but  because  his  methods  were  not  suited  to 
my  needs.  I therefore  know  by  sad  experience  that  a man  must  work  in  his 
own  way  after  he  has  been  properly  taught;  yet  what  is  health  for  one  is  death 
for  another.  But  he  must  be  careful  to  regard  the  requirements  of  the  craft. 

I do  not  intend  to  give  infallible  laws  or  irrefutable  directions  on  the  sub- 
ject of  pen  drawing;  I only  wish  to  make  suggestions  which  are  the  result  of  a 
considerable  amount  of  experience.  But  the  study  of  good  work  is  really  of  more 
practical  value  to  the  student  than  suggestions,  and  to  show  a series  of  examples 
of  the  best  work  is  the  reason  for  this  book,  and  the  examples  in  it  are  good. 

Theoretically,  it  is  very  easy  to  take  a piece  of  white  paper,  a pen,  and  any 
kind  of  ink,  and  draw  away.  This  is  really  what  the  old  men  did,  not  minding 
blots,  or  anything  else,  so  long  as  they  suggested  the  idea  at  which  they  aimed, 
and  very  wonderful  are  many  of  the  sketches  they  produced  in  this  manner. 
Now,  pen  and  ink  drawing  is  another  thing. 

The  best  way  to  make  a pen  drawing  is  to  make  a pencil  drawing.  Whoever 
can  make  a good  pen  drawing  without  a preliminary  pencil  sketch  of  more  or 
less  importance  may  set  himself  up  for  a genius,  and  be  congratulated  on  his 
ability  to  avoid  much  drudgery.  For  convenience  sake  it  will  be  better  to  sup- 
pose that  my  readers  are  not  geniuses,  and  after  all  I shall  only  be  ranking  them 
temporarily  with  men  like  Fortuny  and  Rico.  I know  a study  by  Fortuny  of  a 
model  draped,  in  which  may  be  seen  under  the  pen  drawing,  not  only  the  nude 
figure,  but  the  anatomy  as  well,  drawn  in  pencil  which  has  never  been  rubbed  out. 
I have  seen  Rico  on  the  canals  of  Venice  making  a pencil  drawing  more  elaborate 
than  the  work  which  was  to  succeed  it.  In  L’ Art , vol.  1.,  1884,  p.  63,  there  is  an 
unfinished  pen  drawing  by  Louis  Leloir,  which  is  the  strongest  proof  of  what  I 
say  on  this  subject.  The  pencil  work  has  all  the  care  and  reverence  of  a hard- 
working but  brilliant  student,  and  the  pen  the  freedom  of  an  accomplished 
master,  who  knows  he  has  a good  foundation  and  goes  ahead.  Ruskin  tells  the 
student  to  make  outlines  with  a hard  pencil,  and  also  that  a drawing  should  be, 
not  only  free,  but  right.  Other  men,  Blum  and  Brennan,  I have  been  told,  never 
made  a preliminary  sketch.  It  is  to  be  hoped  the  reader  is,  but  to  be  feared  he 
is  not,  as  brilliant  as  they.  Anyway  he  will  very  soon  find  out  for  himself. 

The  best  way  is  to  make  a careful  sketch  with  a hard  (an  H,  or  HH)  lead 
pencil  on  the  sheet  of  paper  on  which  you  intend  to  make  your  pen  drawing,  in 
which  case,  in  order  to  save  the  surface  of  the  paper,  only  outline  your  shadows. 
In  fact,  make  the  sketch  in  outline  as  much  as  possible,  as  it  must  be  rubbed  out 


418 


PEN  DRAWING 

afterwards,  and  much  rubbing  will  spoil  the  surface  and  grey  the  ink.  Or,  make 
the  drawing  just  as  you  want  it  on  another  sheet  of  paper,  and  then  transfer  it 
by  means  of  black  transfer  paper,  or  else,  as  I suggested,  use  thin  correspondence 
paper  and  lay  it  down  on  and  draw  over  the  original.  When  the  pencil  drawing 
is  done,  go  to  work  with  your  pen  and  draw  this  again  and  again  till  you  have 
simplified  your  work  to  the  utmost;  this  is  the  way  all  great  artists  have  got 
their  simplicity,  freshness,  directness.  It  would  be  well  to  study  from  masters  of 
pen  drawing,  whose  work  is  in  this  book,  but  you  must  remember,  if  you  study 
from  reproductions,  to  choose  only  masterpieces,  and  that  these,  unless  they  are 
the  original  size,  do  not  look  like  the  original  drawings,  and  even  if  they  are  the 
same  size,  much  delicacy,  refinement,  and  greyness  of  line  has  been  lost.  In  this 
book  several  of  the  most  important  drawings  are  reproduced  exactly  the  size 
they  were  made,  and  can  therefore  be  followed  line  for  line;  some  of  the  drawings 
are  even  enlarged.  As  a rule,  however,  the  drawings  are  very  much  reduced,  and 
you  are  consequently  not  looking  at  the  drawing  as  it  was  made,  but  at  the 
reproduction  the  artist  wanted  you  to  see.  Therefore,  it  must  be  borne  in  mind 
that  the  artist  made  his  drawing,  not  necessarily  crude,  but  with  the  lines  farther 
apart  and  broader  than  you  see  them,  because,  if  these  drawings  have  to  be 
reduced  very  much,  the  spaces  between  the  lines  are  so  diminished  that,  unless 
the  printing  is  very  careful,  you  have,  instead  of  the  delicate  grey  drawing  you 
expected,  a dirty  black  mass,  owing  to  the  ink  filling  up  the  spaces  between  the 
lines  and  to  the  lines  themselves  running  together,  and  so  holding  the  ink. 

You  must  remember  that  if  you  want  a sharp  line,  your  work  must  be  per- 
fectly black,  and  the  lines  must  stand  out  clean  and  alone  on  the  paper.  If  you 
want  to  get  a grey,  you  will  not  succeed  by  putting  water  in  the  ink,  but  by 
making  the  lines  light — I mean  fine  and  separate,  or  drawing  on  rough  paper. 
This  is  the  general  rule  to  follow.  Of  course,  a master  will  grey  his  lines,  and 
run  them  together,  and  make  a tender  grey  where  the  student  would  make  but 
a muddle,  and,  in  fact,  do  all  sorts  of  things  that  I might  say  should  not  be 
done.  You  will  also  find  that  if  you  put  one  solitary  line  in  the  sky  to  mark  the 
outline  of  a cloud,  it  will  come  out  in  the  reproduction  three  times  as  strong  as 
you  intended  it  to,  for  the  simple  reason  that  though  four  or  five  light  grey  lines 
may  stand  up  together,  one  will  not,  and  will  have  to  be  thickened  in  the  type- 
metal  by  the  photo-engraver,  and  still  more  broadened  by  the  ink  of  the  printing 
press.  In  photogravure  you  can  get  the  lines  as  fine  as  you  choose  to  make  them 
but  not  in  cheap,  rapid  printing.  In  drawing  your  foreground,  do  not  make  it 
too  coarse  under  the  impression  that  it  will  be  brought  by  reproduction  into 
proper  relations  with  the  delicate  distance.  It  probably  will  always  remain  coarse. 
Though  there  are  few  things  to  be  remembered  in  connection  with  pen  drawing, 
these  few  that  I have  mentioned,  such  as  keeping  the  lines  apart,  not  getting 
too  many  blacks,  are  of  the  utmost  importance.  But  these  are  things  which  must 
be  remembered  in  any  sort  of  drawing,  if  you  want  a good  result,  a good  print. 


OF  TECHNICAL  SUGGESTIONS  FOR  PEN  DRAWING  419 

The  size  of  pen  drawings  for  reproduction  is  a matter  of  experience  and 
personal  liking.  It  is  not,  as  the  photo-engraver  insists,  necessary  to  make  the 
drawing  one-third  or  one-half  as  wide  again  as  the  block  is  to  be.  Of  course,  if 
your  drawing  is  to  fill  exactly  a certain  space,  you  will  have  to  shape  and  measure 
it  to  fit  in.  But  in  most  magazines  or  books  the  space  is  made  to  suit  the  drawing, 
and  all  the  art  editor  need  do  is  to  reduce  the  longest  side  of  the  drawing  to  fit 
his  page,  and  the  type  will  come  in  around  it.  As  to  size,  for  example,  I believe 
in  many  cases  Parsons’  drawings  are  exactly  the  same,  or  very  slightly  larger 
than  their  reproductions,  a contradiction — also  proven  in  this  book — to  the 
photo-engraver’s  oft-repeated  statement  that  drawings  must  be  reduced  in  order 
to  get  fine  work.  On  the  other  hand,  I have  frequently  seen  drawings  by  Brennan 
which  filled  a sheet  of  Whatman  imperial  paper,  and  were  reduced — and  beauti- 
ifully — to  five  inches  the  longest  way.  But  for  general  advice,  it  would  probably 
be  wisest  for  the  draughtsman  to  make  his  drawing  twice  the  width  of  the  intend- 
ed reproduction.  Drawings  also  at  times  may  be  enlarged  with  great  success. 

There  are  many  devices  adopted  by  every  clever  pen  draughtsman,  which 
to  the  purist  are  very  shocking.  For  example,  putting  on  in  two  minutes  a flat 
tone  with  a brush,  which  will  afterwards  be  rouletted  by  the  photo-engraver,  or 
by  indicating  with  a blue  pencil  those  portions  of  a drawing  which  should  be 
reinforced  by  a mechanical  dotted  tint  put  over  it  by  the  photo-engraver.  It  is 
really  a question  of  getting  what  is  wanted  in  five  minutes  or  in  five  hours. 
Often,  too,  one  finds  that  the  distance  comes  entirely  too  strong,  and  will  have 
to  be  toned  down  by  a skillful  engraver.  Frequently  the  engravings  of  French 
drawings  will  be  cut  all  over  in  this  way,  and  are  thus  given  a soft  grey,  misty 
effect,  often  very  beautiful.  Nearly  all  the  better  pen  drawings  in  Harper  s and 
The  Century  are  “hand-worked,”  as  it  is  called,  by  skillful  engravers,  that  is, 
the  engravers  work  on  them,  thinning  lines  and  toning  them  down.  All  fine 
work  must  be  cut  at  the  edges  if  you  do  not  want  it  to  look  hard  and  rough. 
Now  the  brush  is  much  used  and  rightly,  either  for  line  work  or  in  conjunction  with 
the  pen — in  the  first  case  reproduced  by  direct  process;  in  the  second,  by  half-tone; 
and  at  times  in  one  reproduction  the  two  methods  of  photo-engraving  are  combined. 

The  thumb  is  very  useful  in  pen  drawing.  By  inking  your  thumb,  and  press- 
ing it  on  the  paper,  you  can  often  get  a strong,  rich  effect,  the  lines  on  the  skin 
being  marked  on  the  paper,  and  reproducing  beautifully.  In  Fortuny’s  work  are 
to  be  found  dear  delightfully  smeared  dirty  blotches,  a trial  to  the  purist,  but  a 
joy  to  the  artist,  since  their  value  and  expression  are  always  just  right,  and  true. 

A foreground,  old  walls  of  houses,  can  be  richly  varied  very  beautifully  by 
taking  a tooth  brush,  dipping  it  in  ink,  and  then  running  a match  stick  under  it, 
and  splattering  the  necessary  parts  of  the  drawing,  stopping  the  others  out  with 
paper.  The  most  charming  effects  are  to  be  had.  But  any  one  who  goes  into  pen 
drawing  will  learn  all  these  and  more  devices  in  a very  short  time  if  he  has  any 
facility  for  it.  The  air  brush  is  now  used  by  time  and  labor-saving  painters  in 


420 


PEN  DRAWING 

this  way — it  knocks  all  art  out  of  the  work,  but  art  is  the  last  thing  the  public 
wants,  or  that  sort  of  artist  either.  But  the  student  will  also  learn  that  pen  draw- 
ing is  an  art  which  requires  as  much  skill  and  experience  on  the  part  of  the  artist 
as  etching;  and  though  less  treacherous,  and  much  more  simple  in  its  actual 
mechanical  operation,  is  also  much  less  dependent  on  accidental  effects  than 
etching.  But  the  great  thing  to  remember  is,  not  to  try  to  draw  everything  under 
the  sun  with  a pen,  but  only  those  things  which  by  simplification  lend  themselves 
easily  and  naturally  to  good  line  work.  I have  already  said  you  must  know  how 
to  draw  before  you  can  make  a pen  drawing,  and  after  you  have  learned  to  draw 
you  must  be  able  to  arrange  the  vital  lines  in  the  most  expressive  manner  and 
in  a fashion  that  will  print,  or  else  you  will  never  be  a pen  draughtsman.  It  is 
just  this  want  of  feeling  for  line  that  makes  a man  who  may  be  a great  painter 
say,  “Oh,  scribble  it  down  anyway,’’  with  a bad  drawing  as  the  result.  While 
if  you  take  a pen  drawing  by  a great  pen  draughtsman  you  will  find  that,  though 
it  may  look  as  if  it  was  scribbled  down  hurriedly  and  hastily,  it  is  done  with  the 
greatest  care  and  thought  for  every  line,  for  every  tone,  for  every  touch. 

I hope  no  one  would  be  so  foolish  as  to  follow  the  advice  to  copy  modern 
woodcuts  or  steel  engravings  of  any  subjects  except  those  done  with  the  pen, 
and  never  then  if  you  can  help  it,  save  the  work  of  Diirer  or  Holbein.  As  Hamer- 
ton  says:  “There  is  a wide  distinction  in  every  art  between  possibility  and  pru- 
dence. A delicate  line  engraving  may  be  so  closely  imitated  with  a fine  pen  that 
few  people,  at  a little  distance,  would  at  the  first  glance  detect  the  difference; 
but  no  artist  who  knew  the  value  of  his  time  would  waste  it  in  such  foolish  toil.” 
The  only  sensible  course,  if  you  must  copy,  is  to  copy  pen  drawings  of  the  greatest 
pen  draughtsmen,  if  you  can  see  the  originals;  if  you  can  only  see  their  repro- 
ductions, to  remember  that  these  have  been  reduced.  For  a man  to  say  that  pen 
drawings  are  produced  by  two  distinct  methods,  one  by  a few  lines  drawn  slowly, 
the  other  by  many  lines  drawn  rapidly,  and  then  to  cite  Rembrandt  as  a man 
to  be  studied  for  the  second  method,  is  to  suppose  that  everybody  is  an  embryo 
Rembrandt.  Had  photo-engraving  been  invented  when  Ruskin  wrote  his  Elements 
of  Drawing  he  never  would  have  made  the  mistake  of  advising  the  draughtsman 
to  cover  quickly  a space  of  paper  with  lines  without  troubling  himself  as  to  how 
they  are  made,  and  then  to  place  other  sets  of  lines  on  top  of  them.  Certainly 
the  man  who  can  with  one  set  of  lines  get  the  exact  grey,  which  according  to 
Ruskin  is  to  be  produced  with  many  sets,  will  be  not  only  doing  a much  more 
artistic  piece  of  work,  but  saving  much  time.  The  consequence  is,  if  one  wishes 
to  get  a grey,  he  should  cover  his  paper  with  straightish  lines,  troubling  himself 
infinitely  to  draw  them  very  carefully  that  they  may  reproduce  well  and  print  well. 

As  a matter  of  fact,  what  you  want  to  do  is  to  take  the  Italian  advice,  and 
no  matter  how  good  a draughtsman  you  may  be  go  slowly  at  first  in  order  that 
you  may  go  fast  in  the  end.  The  end  is  the  aim  of  the  artist. 


OF  THE  REPRODUCTION  OF  PEN  DRAWINGS  CHAPTER  XIV 

PEN  DRAWINGS  may  be  reproduced  in  two  radically  different  ways. 

First,  by  what  is  commonly  known  among  artists  as  photo-engraving 
or  process  for  printing  with  the  type  in  book,  magazine  or  newspaper; 
and  secondly,  by  photogravure  on  a copper  or  other  plate  for  printing 
like  a steel  engraving  or  etching.  These  two  processes  may  be  subdivided,  the  first 
into  innumerable  methods,  and  the  second  into  a dozen  or  more.  In  the  first, 
the  object  is  to  make  a relief  block  for  printing  with  type;  and  in  the  second,  to 
produce  an  engraved  plate  for  printing  in  intaglio.  The  examples  in  this  volume  are 
produced  by  both  methods,  with  a very  few  exceptions  done  by  wood-engraving. 

In  photo-engraving  for  letterpress  printing  the  drawing  is  photographed 
on  and  then  directly  etched  in  relief  on  a zinc  or  copper  plate,  or,  after  numerous 
processes,  finds  itself  on  a gelatine  or  some  other  film,  the  film  in  relief  with  the 
drawing  sunken  in  it.  From  this  film  a cast  is  made,  from  which  electros  may  be 
taken  in  relief  exactly  like  type.  The  production  of  this  result  would  be  neither 
clear  nor  interesting  to  any  but  a photo-engraver  or  a photographer.  It  would 
require  a whole  book  to  be  explained,  as  it  has  been,  and  very  well,  in  Modern 
Methods  of  Book  Illustration  and  The  Photographic  Reproduction  of  Drawings , by 
Col.  Waterhouse,  and  in  other  treatises  on  chemical  and  technical  methods. 

The  Weeks  Photo-Engraving  Company,  of  Philadelphia,  has  invented  and 
perfected  a new  method  of  making  photo-engravings  by  electrical  etching  and 
a few  blocks  printed  in  this  book  were  done  in  this  manner.  The  plate  with  the 
photograph  on  it  is  suspended  in  a bath,  face  downwards,  by  a wire  through 
which  a current  passes  and  the  bare  copper  is  dissolved,  and  also  absorbed  by 
the  bath,  and  the  unexposed  parts  are  left  in  relief,  as  in  ordinary  photo-etching. 
They  claim  that  the  work  is  cleaner  and  sharper;  for  half-tone  this  seems  to  be 
the  case,  but  I am  not  so  sure  it  is  so  with  line  blocks.  In  fact,  in  nearly  all  cases 
intelligent  hand  work  is  necessary,  and  although  the  photo-engraving  possesses 
the  advantages  I have  noted,  all  good  mechanical  work  must  be  backed  up  by 
good  hand  work  and  brain  work,  which  is  the  only  way  to  get  good  results. 

Photogravures  are  made  by  photographing  the  drawing  on  a grounded 
copperplate,  which  is  then  bitten  more  or  less  in  the  same  manner  as  an  etching, 
and  worked  up  afterwards  with  a graver,  or  by  building  up  a plate  in  a bath  on 
a gelatinous  film.  The  result  resembles  an  etching  closely.  Too  closely,  sometimes. 

The  other  new  method  of  reproduction  is  rotogravure,  which  has  never  been 
decently  used  or  improved  in  the  slightest  degree  in  this  country.  It  is  the  applica- 
tion of  intaglio  engraving  to  the  steam  press  for  use  with  letterpress  printing, 
though  this  latter  has  not — like  all  other  improvements — been  tried  here.  A draw- 
ing is  photographed  through  a screen  on  to  a gelatine  film  as  in  ordinary  photo- 
engraving, this  film  is  fastened  tightly,  squeegeed  to  a copper  cylinder,  and  the 
design  washed  away,  the  rest  of  the  film  remaining  as  an  acid  resisting  ground. 
The  design  is  then  etched  into  the  copper  cylinder,  which  is  placed  on  a specially 
designed  press;  the  cylinder  with  the  etched  design  on  it  passes  through  a bath 


422 


PEN  DRAWING 

or  well  of  ink  or  is  inked  with  rags,  and  then  a razor  blade,  perfectly  sharpened  and 
perfectly  adjusted  to  fit  the  cylinder,  shaves  all  the  ink  off  the  surface,  leaving  it 
in  the  lines  alone,  as  in  metal  printing;  a rubber  or  soft  blanketed  cylinder  carry- 
ing the  printing  paper  passes  over  it  and  the  print  comes  off  the  cylinder  on  to  the 
paper,  as  in  etching.  Here  and  in  England  the  type  also  has  to  be  etched  on  the 
cylinder,  if  it  is  wanted,  and  also  on  the  back  of  the  sheet,  or  printed  separately, 
while  the  most  awful  blues,  greens  and  browns  are  used  to  please  the  “ad  men.” 
But  in  Germany,  where  rotogravure  was  perfected  some  years  ago,  the  prints  are 
put  in  the  pages  wherever  wanted,  surrounded  and  backed  with  ordinary  type — - 
a mere  matter  of  an  extra  cylinder;  here  the  up-to-date  American  printer  does  not 
even  know  how  to  do  that.  The  value  for  pen  draughtsmen  is  that  drawings  could 
either  be  photographed  on  to  the  cylinder  or  transferred  to  it,  and  etched  and 
marvelous  results  obtained,  but  so  long  as  this  country  is  in  the  clutches  of  the 
trade  union  business  man  and  commercial  artist,  nothing  can  or  will  be  done. 
The  unionist  doesn’t  want  to  and  the  business  man  doesn’t  know  how  to.  The  only 
remedy  is  the  trade  and  craft  school.  By  the  use  of  the  offset  and  rotogravure 
wonderful  developments  are  possible  in  illustration.  Twenty  years  ago  they  would 
have  been  made;  today  we  are  too  stupid,  too  ignorant,  too  lazy  to  make  them. 
I saw  in  the  German  papers  in  1914  drawings  and  etchings,  reproduced  by  roto- 
gravure and  inserted  in  the  type  of  the  dailies,  of  marvelous  perfection.  Here  the 
experiment  of  doing  this  has  not  even  been  tried.  It  might  be  interesting  to  record 
that,  at  the  outbreak  of  the  war,  all  the  rotogravure  presses  in  the  United  States 
were  imported  from  Germany,  though  Hoe’s  were  experimenting  on  a roto- 
gravure press  at  their  London  works;  I made  a number  of  experiments  for  them; 
in  fact,  they  bought  a paper  to  experiment  on.  Here  all  the  printers  were  Germans; 
they  returned  to  their  country  at  the  outbeak  of  war;  we  had  no  trained  roto- 
gravure printers  and  no  training  schools;  we  have  not  mastered  these  presses  yet, 
and  never  make  an  experiment.  Such  is  American  up-to-date  progress.  In  the 
Leipzig  International  Graphic  Arts  Exhibition,  1914,  where  I was  commissioned 
for  the  United  States,  though  we  had  no  exhibition,  there  was  a German  press 
working  which  turned  out  a ninety-six  page  magazine  complete,  illustrated  with 
line  blocks,  half-tones,  color  prints,  rotogravures,  offset,  bound  in  color  and  de- 
livered ready  for  sale.  When  I have  told  American  printers  about  this  they 
vacantly  stared  and  turned  to  the  ball  scores,  chewing  gum,  eating  candy,  guzzling 
soft  drinks  and  whining.  Germany  before  the  war  led  the  world  in  industrial 
development,  experiment  and  hard  work.  That  is  the  reason  why  that  country  led, 
and  so  she  will  again  lead  in  industrial  art  unless  the  people  of  this  land  cease 
following  false  gods,  who  have  dragged  us  down  from  our  high  place.  How  have 
the  mighty  fallen!  We  must  get  to  work  again  and  at  once. 

Reproduction  is  a purely  mechanical  process,  but  so  important  as  to  be 
destined  to  supersede  all  but  the  best  wood-engraving — that  is,  original  wood- 
engraving— and  all  other  reproductive  methods.  In  it  no  hand  work  comes  be- 


423 


OF  THE  REPRODUCTION  OF  PEN  DRAWINGS 

tween  the  drawing  and  the  print  to  any  great  degree,  although  intelligent  aid 
can  always  be  given.  For  example,  it  is  almost  impossible  for  a wood-engraver  to 
cut  the  delicate  grey  lines  of  many  a pen  drawing.  It  is  equally  impossible  for  the 
photo-engraver  to  reproduce  them  mechanically.  But  their  intelligent  co-oper- 
ation, added  to  the  accuracy  of  the  process,  will  give  the  desired  effect.  I mean 
the  fine  line  which  the  wood-engraver  cannot  cut  by  himself,  and  which  is  so 
fine  that  if  reproduced  accurately  it  will  scarcely  stand  on  the  process  blocks, 
can  be  cut  down  to  the  required  fineness  or  enlarged  on  the  relief  blocks  by  the 
wood-engraver,  or  by  the  photo-engraver,  if  he  is  artist  enough  to  do  it. 

Hamerton  sets  forth  the  great  economy  of  process-reproductions  as  one  of 
their  chief  advantages.  “It  so  happens,”  he  writes,  “that  nothing  we  can  draw 
reproduces  quite  so  perfectly  as  a clear  black  ink  line  on  perfectly  smooth  white 
paper,  and  in  consequence  of  this  the  art  of  drawing  with  the  pen  has  suddenly 
become  the  principal  means  of  disseminating  artistic  ideas  when  economy  is  an 
object.”  But  it  is  very  doubtful  whether  a cheap  photo-engraving  is  really  much 
cheaper  than  a cheap  wood-engraving.  The  latter  will  look  better,  as  it  is  almost 
impossible  to  print  a cheap  process  block  decently.  Publishers  should  reject  all 
but  the  best  reproductions  by  photographic  processes;  that  is,  if  they  know  and 
care  enough  to  do  so,  otherwise  they  only  lead  to  carelessness  and  the  ruin  of 
the  artist’s  drawing.  But  then  the  artist  and  his  work  are  merely  tolerated. 

It  would  do  the  pen  draughtsman  no  harm,  but  rather  an  enormous  amount 
of  good,  not  only  to  study  with  the  photo-engraver  before  he  sets  himself  up  as 
a draughtsman,  but  also  whenever  his  work  is  being  reproduced.  Now,  in  these 
trade  union  days,  artists  are  kept  out  of  engraving  shops;  the  men  from  whom 
the  business  men  and  the  mechanics  make  their  living  are  not  allowed  to  correct 
the  rotten  blocks  they  are  given.  No  explanation  will  supply  the  criticisms  which 
an  intelligent  photo-engraver — though  few  are  left — makes  on  a novice’s  draw- 
ings, that  is  criticising  them  with  a view  to  their  reproduction.  Unless  artists 
today  are  willing  to  come  out  of  their  show  studios — as  some  of  the  best  do — 
and  go  down  to  the  dirty  shop  of  the  photo-engraver  and  try  experiments,  or 
intelligently  consult  with  him,  we  shall  never  have  really  artistic  workmen  and 
artistic  results.  In  some  shops  this  would  cause  a strike;  in  others  welcomed. 

Since  the  introduction  of  photo-lithography,  it  has  not  been  necessary  for 
an  artist  who  is  a draughtsman  to  become  a skilled  lithographer  in  order  to  have 
his  line  drawing  reproduced  on  stone.  For,  though  he  should  understand  the  proc- 
ess, there  is  no  more  reason  why  he  should  give  his  time  to  it  than  that  he  should 
reproduce  his  own  drawings  by  photo-engraving.  Intelligent  supervision  of  re- 
production is  one  thing;  unintelligent  waste  of  time  over  mechanical  details  is 
quite  another.  Pen  drawings  may  be  made  in  lithographic  ink,  and  reproduced 
either  by  process  or  lithography,  but  it  is  rather  nasty  stuff  to  work  with. 

Offset  printing  is  the  greatest  improvement  in  printing  of  modern  times, 
therefore,  most  of  the  modern  up-to-date  American  editors  will  scarcely  use  it — 


424 


PEN  DRAWING 

at  any  rate  not  in  the  right  and  practical  way,  for  we  are  the  most  unpractical  and 
unexperimental  oafs  in  existence.  The  offset  press  is  in  theory  very  simple,  and  is 
a lithographic  method.  To  the  ordinary  lithographic  press  an  extra  cylinder  is 
added;  the  stone  or  plate  is  inked  in  the  ordinary  lithographic  steam  press  fashion; 
a cylinder  covered  with  rubber  is  rolled  over  the  inked  design  and  then  on  to  the 
printing  paper;  it  is  an  intermediary  roll,  that  is  all;  the  rubber  blanket  takes  the 
ink  from  the  plate  or  stone,  and,  being  soft,  not  only  discharges  this  ink  on  the 
printing  paper,  but  adds  a bloom  or  tone  to  it.  Besides,  there  is  in  lithography  no 
necessity  to  use  a screen  for  wash  work.  The  type  then  can  be  set  up,  inked  and 
transferred  to  the  stone,  the  drawing  made  on  it — or  transferred  to  it,  or  photo- 
graphed on  it — the  paper  commonly  employed  by  the  magazine  or  paper  can  be 
used  and  a better  result  got  with  half  the  labor,  time  and  expense.  And  the 
American  art  editors  will  scarce  use  it!  Even  more  incredibly  stupid  was  their 
action  during  the  printing  strike  ol  1919  when  the  offset  press  would  have  got 
them  over  all  the  difficulties  they  made  themselves  and  for  their  readers  by 
means  of  typewriters  and  photography  and  other  make-shifts — and  why  don’t 
some  one  invent  decent  type  and  alignment  for  the  typewriters.  Drawings  for  use 
by  the  offset  method  would  have  to  be  made,  if  intended  for  transferring  to,  or 
drawing  on  the  stone  or  plate,  in  lithographic  ink — but  if  photographed  on  to 
the  stone  or  plate,  can  be  made  in  ordinary  ink  of  any  size.  It  is  unbelievable 
that  the  American  business  art  man  does  not  take  advantage  of  these  improve- 
ments; but  he  is  unbelievable.  One  editor  told  me  that  it  would  be  impossible  to 
use  the  offset  press  because  it  would  mean  putting  in  new  machinery  when,  as  a 
matter  of  fact,  all  the  color  plates  used  in  his  magazine,  and  a number  are  used, 
are  not  made  or  printed  in  his  printing  works  at  all.  The  whole  reason  is  the 
unbelievable  ignorance  and  incredible  stupidity  of  the  average  American  editor. 
It  would  even  be  cheaper,  but  he  is  too  stupid  to  know  that.  So,  too,  is  it 
incredible  that  the  smart  editor  will  use  half-tones  which  cost  four  times  as  much 
as  line  blocks — and  do  not  print  near  so  well — but  half-tone  is  the  fashion  and 
we  must  be  in  the  fashion  no  matter  how  foolish  that  is. 

With  our  present  methods  of  business  hustle,  cheapness,  subdivision — all 
simply  other  means  for  making  money  by  doing  bad  work — we  have  debauched 
illustration,  engraving  and  printing.  I doubt  if  anything  decent  will  be  done  in 
the  future,  certainly  not  if  the  business  man  has  any  say — but  good  work  has 
been  done;  this  book  proves  it,  and  is  a record  of  it.  It  is  up  to  the  draughtsmen, 
engravers  and  printers  to  carry  on  and  still  improve,  or  go  down  in  the  great 
darkness  which  covers  the  blind  world  today  and  grows  blacker  every  day, 
thanks  to  those  who  brought  on  the  war,  and  the  others  who  want  to  perpetuate 
it  through  the  League  of  Notions — not  Nations.  the  end  of  this  book. 


INDEX 


Abbey,  e.  a.,  Artist . . .3,  133, 

. . . 140, 168, 180, 184, 271, 2-5,388 
Account  of  Career.  272-3,  278,  283 

Examples  of  Work 278-82 

Character  of  Work 283 

Academy  of  Sciences,  Berlin 128 

Ache,  Caran  D’  (E.  Poirie),  Artist 

79,  86, 107, 1 13,  231,  232,  268 

Drawings  by 86,  87 

Greatest  Work 86 

Adan,  E.,  Artist 59 

Advertisements,  Drawings  in 

••••; 356-71,373,375-8 

Advertising  as  a Fine  Art 61 

ALsop's  Fables , Caldecott’s  Draw- 
ings for 231 

Albrecht,  H.,  Artist 129 

Album  de  Forain 74 

Alice  in  Wonderland,  Illustrated  by 

Tenniel 247 

Ally  Sloper,  W.  G.  Baxter’s  Work 

for 264 

Aman,  Jean,  Artist 95 

Amand,  Durand,  Artist 184 

America,  Pen  Draughtsmen  in 58 

Catalogues  Published  in 60,  61 

Drawings  of  Sculpture  by  Ar- 
tists of 84 

Imitators  of  Forain  in 74 

Superiority  of  German  Pen 
Draughtsmen 130-1 


Barbari,  J.  de’,  Artist 9 

Barret,  Engraver 68 

Barye,  A.  L.,  Sculptor 99 

Baudry,  Paul,  Artist 201,409 

Baxter,  W.  G.,  Artist 264 

As  a Great  Comic  Draughts- 
man  264 

Illustration  from  Ally  Sloper.  .265 

Bayha,  E.  F.,  Artist 373 

Example  of  Work 373 

Beardsley,  Aubrey,  Artist 

56,  90, 1 86,  221,  226, 369, 388, 404 

Examples  of  Work 

220,  221,  222,  223,  224,  225 

Methods  and  Characteristics. . 

221-6 

Achievements  and  Death 226 

Work  for  London  Daily  Chron- 
icle  . . -349 

Geraudel  Pastille  Advertise- 
ment, Courrier  Fran<;ais . . . .365 

Bell,  R.  Anning,  Artist 

_ 154,186,254,  262,393 

Drawings  from  La  Belle  Dame 

sans  Merci.  . . 262,  263 

Bellini,  Gentile,  Artist 2 

Drawing  of  a Turk 5 

Bentworth,  Engraver 127 

Beraud,  Jean,  Artist 59,  297 

Berenson,  Artist 338 

Bergen,  F.,  Artist 130 

Bermudez,  C.,  Dictionary  of  Span- 


Boyd,  Artist 371 

Bracquemond,  Artist 59, 329, 403 

Bradley,  Will  H.,  Artist 274 

Interesting  Style  of 314 

Examples  of  Work 315,410 

Work  for  The  Inland  Printer . .409 

Braun  et  Cie.,  Publishers 43 

Brennan,  Alfred 

84,  271,294,  296-7 

Examples  of  Work 295,  296 

Lettering  by 407-8 

Breviere,  Artist 57,  62, 127 

Bridwell,  H.  L.,  Artist.  .274,  400,  403 

Brisson,  Jules,  Artist 108 

Example  of  Work 108 

British  Museum,  Work  by  Durer 

in 10-11 

Drawing  by  Goya  y Lucentes 

in 27 

British  Workman , The 209 

Brown,  Ford  Madox,  Artist 188 

The  Widow's  Son  in  Dalzie/’s 

Bible 189 

Brunet,  Debaines,  Artist 59 

Bugg,  Printer 352 

Burges,  W.,  Artist 205 

St.  Simeon  Stylites 205 

Burne  Jones,  Sir  E.,  Artist. . . 192, 369 
Drawing  for  Daleiel's  Bible. . . .192 
Work  for  London  Daily  Chron- 
icle ■ 349 

Drawing  from  London  Daily 


Drawing  in 

271-5 

ish  Artists 

. 28 

Chronicle 

• ■ -352 

Examples  of  Work  by  Artists  of 

Best,  Engraver 

■ 57 

Busch,  Artist 

. . .130 

276-327 

Bethune,  Artist 

■ 95 

Butin,  Ulysse,  Artist 

...  89 

American  Art  Review . . . 

271 

Bewick,  Thomas,  Artist.27,  57,  64, 

412 

Butterfly,  Magazine 1 

86,  276 

Andrews,  J.,  Engraver. . 

57 

First  of  Modern  Illustrators. . . 

187 

Edgar  Wilson’s  Work  in . . . 

. . . 242 

Angelo,  Michael,  Artist . 

ix,  2 

Bible  Gallery,  Dalziel’s 

188 

Angerer,  Artist 

144, 164 

Birch,  Reginald,  Artist 

CALDECOTT,  Randolph,  Artist 

Animals,  Caldecott’s  Drawings  of 

79,  271,284,408 

70,130,186, 231 

-2,399 

.177,181,231 

Example  of  Work 

284 

Genius  of 

Arabian  Nights,  The 183 

Architecture,  Lalanne,  an  Illustra- 
tor of 76 

Picturesque  Rendering  by  H. 

Scott 77-8 

T reatment  by  Mile.  Herrwegen . 1 26 
Drawn  by  Herbert  Railton. . . .186 
Drawn  by  American  Artists. . . 

274, 302-10 

Robert  Blum’s  Work 302 

Joseph  Pennell’s  Drawings.  . . . 

303-5,307-8 

L.  Rasmussen’s  Work 308-9 

Drawing  by  Harry  Fenn 310 

Arms  and  Armor,  Drawings  of..  . .274 
Art,  L’ . . . .22,  23,  24,  31,  46,  58,  60,  89 

Lalanne’s  Work  in 77 

Marie  Weber’s  Drawings  in . . . 83 

Renouard’s  Drawings  in 121 

Ringel’s  Drawings  in 84 

Assiette  au  Beurre,  L' 59 

Atalaya,  Artist 95 

Auriol,  Artist 100 

Babcock,  e.  j.,  Artist 377 

Drawing  for  Advertisement  by. 377 
Bacher,  Otto,  Artist.  149,  274,324,  325 
Examples  of  Work 324, 325 


Birmingham  School 186 

Work  of  Members 232-5 

Blackburn’s  Illustrated  Exhibition 

Catalogues , 184 

Blake,  William,  Artist 187 

R.  Kent  as  Follower  of 326 

Blanco  y Negro 53, 372 

Blast 186 

Blum,  Robert,  Artist.  .31,  84,  271, 272 
Discussion  of  Work,  and  Exam- 
ples  299-302 

Architectural  Drawings  by. . . .302 
Bocklin,  Arnold,  Artist.  .130, 159, 162 

Bojesen,  Publisher 173 

Bolshevists  in  Art 348 

Bone,  Muirhead,  Artist. . 1 84,  2 1 1 , 2 1 2 

Example  of  Work 212 

Bonvoisin  (Mars),  Artist 79 

Book  Decoration,  Pen  Drawing  for 

; 379-412 

Books  of  Beauty 392 

Booth,  Franklin,  Artist '. . . 

xvii,  274,308,366,  369 

Examples  of  Work 311-13 

Bork,  A.,  Engraver 173 

Example  of  Work 170 

Botticelli,  Sandro,  Artist 2,379 

Boughton,  G.  H.,  Artist 184 

425 


Examples  of  Work 230,  232 

Hugh  Thomson  Compared  with 

266 

Cameron,  D.  Y.,  Artist 154,  184 

Upland  Hills  by 21 1 

Canaletto,  Artist 43 

Caricature,  Caran  D’Ache’s 86 

A.  Oberlander’s 140, 142 

Carpentier,  Publisher 58 

Carrere  and  Hastings,  Architects  .302 

Cartoonists,  American 360-1 

Casanova,  A.,  Artist 37,  53 

Discussion  of  Work 24,  48-52 

Cassells,  Publishers 187 

Catalogue  of  Blue  and  White  China 

276,332 

Catalogues,  Illustrating  of 60 

Cats,  Lancon’s  Drawing  of 99 

Centennial  Exhibition  of  1876, 

Philadelphia 271,  274 

Century  Guild,  The 186,  400 

Century  Magazine,  The . . . .23, 149, 

_ -272,419 

Drawings  of  Sculpture  in 84 

Drawings  by  English  Sculptors 

in 217 

A.  W.  Drake,  Art  Editor  of. . .271 
R.  Blum’s  Drawings  of  Indians.272 


PAGE 

Drawings  by  Wyatt  Eaton  from 

; 274,316,317 

Harry  Fenn’s  Work  in 310 

C'era  una  Volta 37 

Cezanne,  Artist 337 

Champsaur,  Felicien,  Author 112 

Champs  de  Mars  Exhibit 95 

Chapman,  S.,  Artist 376 

Examples  of  Work 376, 377 

Chase,  W.  M.,  Artist 271 

Chat  Noir , The 86 

Riviere’s  Silhouettes  for 113 

Chaumiere  Lndienne,  La..  . . 57,  63,  127 
Chavannes,  P.  Puvis  de,  Artist ...  1 14 

Example  of  Work 1 14 

Chefdeville,  Louis,  Engraver.  183,  294 

Cheney,  Leo,  Artist 370 

Johnnie  Walker  Advertising 

Drawing 370 

Cheret,  Artist 100 

Chessa,  Artist 25 

Children,  Boutet  de  Monvel’s 

Drawings  of 106 

Chinese  Illustration 328,  330,  331 

Chodowiecki,  Artist 5,  127 

Church,  F.  S.,  Artist 404 

Clark,  Rene,  Artist 375 

Examples  of  Work.  . .375,  408,  409 

Clarke,  Sir  Edward 353 

Clarks,  Printers 392 

Classical  Dictionary , Smith’s 38 

Claude  Lorraine,  Artist. . . .ix,  2,3, 

...14,19,20,211 

Landscape  Drawings 15-16 

Cleaver,  Reginald,  Artist 371 

Cleland,  T.  M.,  Artist 406,407 

Drawings  for  Mathematics  .406,  407 

Clennell,  Engraver 57 

Coca-Cola  Design,  L.  Mero’s 363 

Cole,  J.  F.,  Artist 127, 186,  201 

Cole,  T.,  Engraver 274,316 

W.  Eaton’s  Lincoln  Engraved 

by 3i7 

Coll,  J.  C.,  Artist xiii,  274, 

-354,369-70 

Newspaper  Illustration  by.  . . .358 

Colvin,  Sir  Sidney,  Critic 11 

Comedie  de  Notre  Temps 86 

Comedie  du  Jour 86 

Comedie  Parisienne,  La 74 

Comedies  of  Shakespeare , Illus- 
trated by  E.  A.  Abbey 272-3 

Comic  Draughtsmen,  German.  . . . 130 

Comics  in  America 361,367 

Constables,  Printers 392 

Contes  Remois,  Les,  Meissonier’s 

Drawings  in 63,  64 

Cooper,  J.  D.,  Engraver 283 

Cornhill,  The 183, 187,  198 

Corot,  J.  B.,  Artist 2, 1 10 

Example  of  Work 1 1 1 

Courboin,  Eugene,  Artist 105 

L' Enfant  Terrible 104 

Courrier  Fran^ais,  Le 59,  115,  125 

Forain’s  Work  in 74 

Beardsley  Drawing  from 365 

Courses  dans  L' Antiquite,  Les 86 

Cox,  Kenyon,  Artist 84,  272 


INDEX 


PAGE 

Crane,  Walter,  Artist.  ...  185,  219, 

396-7,405 

Examples  of  Work.  . .218,386,  391 

Manner  of  Working 219 

Work  for  Kelmscott  Press.  . . .219 
Work  for  London  Daily  Chron- 
icle  349 

Cover  of  St.  Nicholas 398 

Cover  Design  for  Chants  of 

Labor 398 

Lettering  by 407-8 

Crowther,  T.  S.  C.,  Artist.  . .370,  371 

Cruche  Cassee,  La 127 

Cruikshank,  G.,  Artist 138,  186 

Comments  on  Work  of 186 

Cubists,  Work  of 7,  61,337-48 

Forerunners  of 95 

Cumer,  Publisher 57,62,127 

Curtis,  Cyrus  H.  K.,  Publisher.  . .360 
Cycling , English  Paper 268 


DaHEIM 144 

Daily  Graphic , The 372 

Dalziels,  Engravers  and  Publishers 

187,188,196,197,198 

Dalziel’s  Bible 1 83, 1 87-8 

Illustrations  from 189-92, 

....196,197 

Lord  Leighton’s  Drawings  for.  208 

Danton,  E.,  Artist 217 

Drawing  by 68,69 

Daudet,  A.,  Author 74 

Daumier,  Artist 361 

Davillier,  Author 22 

Life  of  Fortuny 31 

Dawsons,  Engravers 247,  285 

Day,  Ben,  Engraver 272 

Day,  Lewis,  Artist 407 

Deal,  Artist 238 

Decoration,  Lack  of  Meaning  in.  . 38 
Use  of  Pen  Drawing  for  Book 

379-412 

Defoe,  Daniel,  Author 210 

Delacroix,  Artist 27 

De  Long,  P.  De  Losselin,  Artist.  . 174 

Example  of  Work 174 

Denmark,  Pen  Drawing  in.  . . . 167-82 

Desmoulins,  F.,  Artist 14 

Heads  by 13 

Detaille,  Edouard,  Artist. . .21,  57, 

64-6,130 

L'  Alerte 64, 65 

L' Armee  Fram;aise 66 

Deveria,  Artist 27 

De  Vinne,  Theodore,  Printer. 272, 392 

Dewar,  W.,  Artist 249 

Example  of  Work 249 

Dial,  The 186,402 

Dickens’  Works,  Drawings  for. . . .208 

Dielman,  Frederick,  Artist 271 

Dietz,  W.,  Artist 21, 129, 138 

Examples  of  Work 138 

Divina  Commedia 2 

Dobson,  Austin,  Author 240,  272 

Dore,  G.,  Artist 11,58 

Dore  Bible 1 87-8 

Doyle,  J.  (H.  B.),  Artist 138 

Drake,  A.  W.,  Art  Editor. . . .271,  274 
Drake,  Will  H.,  Artist 149 

426 


PAGE 

Drake,  W.  L.,  Artist 324-5 

Example  of  Work 324 

Dresden  Museum 162 

Dry  Point 19,  58 

Duez,  Artist 59 

Du  Maurier,  George,  Artist 

185,  208,  274 

Drawing  by 250 

Discussion  of  Work 250-1 

Du  Mond,  F.,  Artist 274,302 

Diirer,  A.,  Artist.  . . .ix,  3,  20, 128, 

154,  149,  193, 198,219,389,390,393 

Heads  by 8-9 

Adam  by 9 

Apollo  by 9,  10 

Howard  Pyle  as  Student  of.  .286-7 
Designs  for  Missal  of  Maxi- 
milian  393 

Duveneck,  Artist 271 

EARLY  Italian  Poets 196 

Eaton,  Wyatt,  Artist 84,  274,316 

Medallion  by 316 

Portrait  of  Lincoln 317 

Echo  de  Paris,  L' 74 

Forain’s  Work  in 74 

Edelfelt,  A.,  Artist 177 

Examples  of  Work 177, 179 

Edwards,  George  Wharton,  Artist 

274,  409 

Example  of  Work 394 

Elements  of  Drawing,  by  Ruskin  . . 

'x,  3, 420 

Elzevir,  Dutch  Monthly 167 

Engels,  R.,  Artist 154 

England,  Pen  Drawing  in 183-7 

In  the  Past 187-210 

In  the  Present 211-70 

Sir  George  Reid 21 1 

Muirhead  Bone  and  D.  Y. 

Cameron 211-12 

Alfred  Parsons 21 2-1 4 

W.  L.  Wyllie 215 

T.  Blake  Wirgman 216-17 

Walter  Crane 218-19 

Aubrey  Beardsley 220-6 

F.  L.  Griggs 226 

A.  Legros 227-8 

Wlater  Sickert 229 

Randolph  Caldecott 230-2 

The  Birmingham  School.  . . .232-5 

Charles  Keene 236-7 

L.  Raven  Hill 238-9 

J.  Bernard  Partridge 240-1 

Edgar  Wilson 242-3 

Phil  May 244-6 

Linley  Sambourne 247-9 

W.  Dewar 249 

George  Du  Maurier 250-1 

William  Small 251-2 

A.  S.  Hartrick  and  E.  J.  Sul- 
livan  253-5 

Arthur  Rackham 256-7 

Fred  Pegram  and  M.  Greiffen- 

hagen 258-9 

Robert  Spence 260-1 

Miss  R.  M.  Pitman 261 

R.  Anning  Bell 262- 

W.  G.  Baxter 264-  ^ 


INDEX 


PAGE 

Hugh  Thomson  and  Herbert 

Railton 266 

Kate  Greenaway 267 

Percy  Kemp 268 

Laurence  Housman 269 

Sir  Hubert  Von  Herkomer.  . . .270 
English  Illustrated  Magazine,  The . 399 

Epinay,  M.  D’.,  Portrait  of 22 

Erster  und  ein  Letzter  Ball,  Ein . . .136 
Etching,  Pen  Drawing  Confused 

with x 

Etching,  Treatise  on,  by  Lalanne.  . ix 
Etchings,  by  Rembrandt  and 

Whistler 3 

Rembrandt’s 17-20 

Evans,  Edmund,  Engraver. . .231,  267 
Excellency  of  the  Pen  and  Pencil. . . .415 

Fabbi,  Artist 25 

Fabres,  Antonio,  Artist 31, 188 

Discussion  of  Work 46 

Man  Reading 46,  47 

Falls,  C.  B.,  Artist. . . xiii,  274,  318-19 

Examples  of  Work 318,  319 

Success  Achieved  by 319 

Farny,  H.  F.,  Artist. . .271,  272,  284-5 

Example  of  Work 285 

Fau,  Ferrand,  Artist 24 

Favretto,  G.,  Artist 25,36 

Fellows,  M.,  Artist 360 

Drawings  in  Vanity  Fair.  .360, 361 
Automobile  Advertisement. . . .362 

Fels  z um  Meer 144 

Fenn,  Harry,  Artist 273 

Character  of  Work 273 

Architectural  Drawing  by 310 

Ferris,  Gerome,  Artist 272 

Ferris,  Stephen  J.,  Artist 272 

Fiffs  der  Affe 130 

Figaro,  Le 74,  86 

Forain’s  Work  in 74 

Figure,  Draughtsmen,  Spanish 

Italian 25 

Finetti,  S.,  Artist 351 

Newspaper  Drawing  by 351 

Flammarion,  Publisher 95 

Fletcher,  Morley,  Artist 329 

Fliegende  Blatter . . . . 129, 130, 138, 


• • • 139,  144,  145,  159, 160,  272,  273 


Stuck’s  Work  in 

. . .159, 160 

Florian,  Engraver 

. . . .74,201 

Forain,  J.  L.,  Artist 

•59, 74, 238 

Example  of  Work 

75 

Form,  Magazine 

186 

Fortuny,  Mariano,  Artist.. 

. .21-2, 

25, 

53, 127, 129 

Discussion  of  Work.  . .: 

21-2, 28,31 

Follower  of  Goya 

27 

Drawings  by 

29, 30 

Vierge  Indebted  to. . . . 

32 

Compared  with  Fabres 

46 

American  Followers  of. 

297 

Foster,  Birket,  Artist 

208 

France,  Pen  Drawing  in . . 

. . . .57-126 

J.  L.  E.  Meissonier.  . . 

62-4 

Edouard  Detaille  and 

A.  de 

Neuville 

64-6 

Madeleine  Lemaire.  . . 

67 

E.  Dantan 

PACE 

P.  G.  Jeanniot 7°-! 

F.  Lunel 72-3 

Maxime  Lalanne 76-7 

H.  Scott 77-8 

Mars  (Bonvoisin) 79 

Drawings  of  Sculpture 80-4 

Auguste  Rodin 84-5 

Caran  D’Ache 86—7 

A.  Lalauze 88 

Ulysse  Butin 89 

Carloz  Schwabe 90-5 

Jules  Jacquemart 95—8 

A.  Lanfon 99 

E.  Grasset 100-1 

Edouard  Manet 102-4 

Eugene  Courboin 105 

A.  Willette 105 

Boutet  de  Monvel 106 

Godefroy 107 

Jules  Brisson 108 

J.  F.  Raffaelli 109-10 

J.  B.  Corot iio-ii 

Louis  Morin 1 12 

Felix  Vallotin 113 

P.  Puvis  de  Chavannes 114 

H.  Toulouse  Lautrec 1 1 5 

J.  Bastien  Lepage 117 

Louis  Leloir 118 

Paul  Renouard 121 

Henner 122 

E.  Marty 122 

H.  Gerbault 124 

F.  Steinlen 125 

Mile.  Herwegen 126 

Franklin  Printing  Company xvi 

Fratelli  Treves,  Publishers 37, 38 

Fredericks,  Alfred 271 

Frederick  William  IV 128 

Frost,  A.  B.,  Artist 271,289, 

294,361 

Remington,  Kemble,  and . 289,  294 

Example  of  Work 290 

Caricatures  by 293 

Fry,  Roger,  Artist 338-9,343 

Furniss,  Harry,  Artist 185 

Futurists 61, 337-48 

GaLICE,  L.,  Artist 11,  24 

Galifore,  B.,  Artist 52 

Garcia  y Ramos,  G.,  Artist..  .25,  53-4 

Dance  at  Granada 53 

Gaucherel,  L.,  Artist 83 

Drawing  of  Teucer 81,83 

Gaugain,  Artist 337,339, 

343,347-8 

Example  of  Work 347 

Gautier,  St.  Elme,  Artist.  . . .59,  81-3 

Voyage  en  Espagne 26 

Gazette  des  Beaux  Arts,  La 60 

Gazette  du  Bon  Genre,  La,  Draw- 
ings from 368, 369 

Gebbie  and  Barrie,  Publishers.  . . .272 

Gerbault,  H.,  Artist 124 

Example  of  Work 124 

Germ , The : 186 

Germania 127 

Germany,  Adolf  Menzel,  Greatest 
Pen  Draughtsmen  of.  . . .127-9, 
I3i-6 


PAGE 

H.  Albrecht 129 

H.  Schlittgen 129, 137-6 

W.  Dietz 129, 138 

F.  Bergen 130 

Hermann  Liiders 130 

Robert  Haug 130 

W.  Leibl 130, 162-5 

Max  Klinger 130 

Franz  von  Stuck 130, 159-60 

Hengeler 130 

Meggendorfer 130 

Superiority  of  Pen  Draughts- 
men of 130-1 

A.  Oberlander 130, 140-2 

Busch 130 

Ludwig  Marold 130, 143 

Liiders  and  Haug 139-40 

A.  Stucki 149 

Hermann  Vogel 145-7 

Contributors  to  Jugend. . . . 149-50 

Joseph  Sattler 149-50 

Schmidt-Helmbrechts 1 5 1 

E.  Pascin 152 

O.  Gulbransson 1 53, 158 

Individuality  of  Artists’  Work . 1 54 
Illustrations  in  Simplicissimus  .154 
Present  Black  Outlook  for  Art  .155 

Bruno  Paul 156 

A.  Weisgerber 157 

A.  Miinzer 161 

Rudolph  Wilke 166 

Giacomelli,  Artist 404 

Gibson,  C.  D.,  Artist 274,322 

Imitators  of 307 

Criticism  of  Work 322 

As  Creator  of  Gibson  Girl.  . . .322 
Examples  of  Drawing.  . . .322, 323 

Gigoux,  Artist 27, 127 

Vierge’s  Indebtedness  to 32 

Gil  Bias 57 

Gil  Bias,  Forain’s  Illustrations  for.  74 

Gil  Bias  Illustre 125 

Gillot,  Engraver 95, 100 

Gilray,  Artist 361 

Giotto,  Artist 4 

Glackens,  W.,  Artist 354 

Glasgow  School 235 

Goblin  Market,  The 269 

Godefroy,  Artist 107 

Example  of  Work 107 

Golden  Ass  of  Apuleius,  The 162 

Gomar,  Artist 25 

Goodhue,  Bertram,  Artist 274, 393 

Borders  for  Altar  Book  and  Pas- 
toral Staff 381-6 

Good  W ords 1 83, 1 87 

Good  Words  Galleries . 198 

Goschl,  Artist 144, 164 

Gosse,  E.  W.,  Book  Plate  by  E.  A. 

Abbey  for 278 

Goupil,  Publisher 58,65 

Gowdy,  F.,  Initials  by 403 

Goya,  F.,  Artist 26-8 

Caprices 27 

The  Scenes  of  Invasion 27 

The  Bull  Fights 27 

Le  Garrot  Vil 27 

Graham,  C.,  Architectural  Illustra- 
tion by 302 


427 


INDEX 


PAGE 

Grand,  Louis  le,  Artist 125 

Graphic  Arts , The ix 

Graphic , The 1 87,  201 , 209,  270 

Grasset,  E.,  Artist. 95,  100-1,  395,  396 

Example  of  Work 403 

Green,  Charles,  Artist 184,  208 

Drawing  by 204 

Drawings  for  Dickens 208 

Greenaway,  Kate,  Artist 267 

Drawings  in  Mavor's  Spelling 

Books 267 

Gregory,  E.  J.,  Artist 184 

Greiffenhagen,  Maurice,  Artist.  . .259 

Example  of  Work 259 

Work  for  London  Daily  Chron- 
icle  349 

Greiner,  Otto,  Artist ....  149, 1 59,  399 

Example  of  Work 401 

Grigg,  H.  L.,  Artist 274 

Griggs,  F.  L.,  Artist 23, 186,  226 

Drawings  in  Highways  and  By- 
ways   226, 227 

Guillaume  Freres,  Printers 392 

Gulbransson,  O.,  Artist 153 

Example  of  Work 158 

Gurlitt’s  Almanack 348 

Guthrie,  J.  E.,  Artist xvii,402 

Gyp,  Artist 58 

Mars  Contrasted  with 79 

HaBERT-DYS,  Artist . . 59,  398,  403 

Designs  by 404 

Hacklander,  Publisher 129,  136 

Half-tone  Process 164 

Halouze,  Edouard,  Artist,  Illustra- 
tions in  La  Gazette  du  Bon 

Genre 369,37Q 

Hamerton,  P.  G.,  Author. . . ix,  x, 

xi,xvii,  1, 15,  58, 183,423 

On  Fortuny 21 

Etching  and  Etchers  by 417 

Harland,  Henry,  Author 226 

Harper  and  Brothers,  Publishers 

271,283 

Harper  s Magazine 149,  419 

Drawing  by  Alfred  Parsons  in  .214 
Illustrations  by  Du  Maurier  in  .251 

R.  Blum’s  Work  in 272 

E.  A.  Abbey’s  Work  in 278 

Hartrick,  A.  S.,  Artist 253 

Example  of  Work 253 

Work  for  London  Daily  Chron- 
icle  349 

Hassam,  F.  Childe,  Artist 274 


Haug,  Robert,  Artist 

65, 130, 

136, 

139-40, 144 

Example  of  Work 

139 

Havard,  Author 

77 

Hollande  a V ol  d’Oiseau 

• -59,  76, 77 

La  Flandre 

77 

Hawley,  Hughson,  Artist. 

274 

Architectural  Illustration  by.  .302 
Heads,  Old  and  New,  Compared. . 8-1 5 


By  Rembrandt 17,  1 8,  19 

Heinemann,  Publisher 173 

He  Knew  He  Was  Right,  Trollope’s.  188 

Hendriksen,  F.,  Artist 173 

Examples  of  Work.  . . 171,  172,  173 
Ude  og  Hjemme  Published  by 176 


PAGE 

Hengeler,  Artist 130 

Henner,  Artist 122 

Example  of  Work 122 

Henningsen,  Frants,  Artist 177 

Example  of  Work 178 

Henschel,  Carl,  Engraver 352 

Herbals,  The 396 

Herford,  Oliver,  Artist 361 

Herkomer,  Hubert,  Artist 184 

Hermansen,  A.,  Artist 177 

Example  of  Work 1 8 1 

Herrick's  Poems,  Illustrated  by 

E.  A.  Abbey 272,  278 

Drawing  from 279 

Herwegen,  Mile.,  Artist 126 

Example  of  Work 126 

Heseltine,  J.  P.,  Collector 15 

Hill,  L.  Raven,  Artist 238 

Examples  of  Work 238,  239 

Work  for  London  Daily  Chron- 
icle  349 

Hiroshige,  Artist 331-2,  341 

Hirth,  Publisher 149 

Hispano-American  Museum,  New 

York,  Fake  Goyas  in 27 

Histoire  de  Mohilier,  L’ 95 

History  of  Frederick  the  Great,  Kug- 

ler’s 129, 1 3 1,  134 

Hobby-Horse,  The 186,400 

Hogarth,  William,  Artist 185 

Hokusai,  Artist 74,  330-1, 

• ■ 333,341 

Drawings  in  the  Hundred  Views 

of  Fujiyama 330-1 

Holbein,  H.,  Artist.  . . .2,  127, 149, 

154,379,389 

Dance  of  Death 2 

Chalk  Drawings 15 

Holberg's  Comedies 167,  168, 169 

Holl,  Frank,  Artist 184 

Holland,  Pen  Drawing  in 167-82 

Hooper,  W.  H.,  Artist 208,219 

Horne,  Herbert,  Artist 186,400 

Drawing  of  Diana 400 

Drawing  of  Birds 405 

Houghton,  A.  Boyd,  Artist . . . 197, 

204,  208 

Illustration  from  Dalziel’s 

Bible 197 

Drawing  by 204 

Illustrations  to  Arabian  Nights .10% 

Housman,  Laurence,  Artist 269 

Examples  of  Work 269 

Huertas,  F.,  Artist 53-4 

Huet,  Paul,  Artist 3,  57,  58, 127 

Hundred  Views  of  Fujiyama 330 

Hundred  Views  of  Yeddo 331 

Hunt,  Holman,  Artist 209 

Hunter,  Colin,  Artist 184 

Hypnerotomachia 2 

I ANTHER,  Richard,  Artist 348 

Icke,  H.  J.,  Artist 167 

Illustracion  Artistica 46 

Illustracion  Espahola  y Americana, 

L 23,  29 

Illustrated  London  News,  The. 'log,  372 
Illustration,  L’ 59,  86 


PAGE 

Image,  Selwyn,  Artist.  ...185,186, 

400,  402 

Impressionists 337-48 

Imprint,  The 402 

Indians,  R.  Blum’s  Studies  of.  . . .272 

Initials,  Designing  of 403 

Ink  for  Drawing 416 

Inland  Printer,  The 409 

Insel  Presse 129 

International  Exhibitions 275 

Ipsen,  L.  S.,  Artist 408 

Isabey,  Eugene,  Artist 57,  127 

Italian  Work 25 

Ives,  Engraver 11, 183 


JaCQUE,  C.,  Artist 57, 127 

Jacquemart,  Jules,  Artist. . . .95-8, 

.149,389 

Drawings  in  L' Histoire  de  Mo- 
bilize  95,97,98 

Bacher  and  Drake  Compared 

with 325 

Japanese,  Simplicity  of 74 

Technical  Side  of  Drawing  by 

; 332-5 

Methods  of  Drawing 335—6 

Craftsmanship  of 415 

Japanese  Illustration 328-36 

Influence  on  European  and 

American  Work 328-30 

Brush  and  Pen  Work 330 

Hokusai’s  Drawings 330-1 

Hiroshige’s  Work 331-2 

Jeanniot,  P.  G.,  Artist 58,  65,  70 

Work  in  La  Vie  Moderne 58 

Discussion  of  Work 70 

Drawing  of  Soldiers  Drilling . 70,  7 1 

Johannot,  T.,  Artist 57, 127 

Roi  de  Boheme 57 

Johnson,  ‘‘Pussy-Foot” 264 

Joly,  Publisher 1 13 

Jones,  Garth,  Artist 378 

Decorative  Newspaper  Draw- 
ing by. 378 

Juengling,  Artist 127 

fugend . .129, 13 1, 149,372 

Notable  Contributors  to.  . .149-50 


KEATS,  John,  and  Aubrey 

Beardsley 226 

Keene,  Charles,  Artist.  . .121,  185, 

186,  232,  236-7,  275 

Examples  of  Work 236,  237 

Kelmscott  Press,  Walter  Crane’s 

Work  for 219 

Kemble,  E.  W.,  Artist. . .274,  289,  294 
Frost,  Remington,  and.  . .289,294 

Example  of  Work 292 

Kemp,  Percy,  Artist 268 

Example  of  Work 268 

Kensington  Gardens,  Drawn  by 

A.  Rackham 256 

Kent,  Rockwell,  Artist xvii,274 

Examples  of  Work 326, 327 

Keppler,  F.,  Artist 130,  273 

KhnopfF,  Artist 95 

Kingsley’s  Water  Babies,  Sam- 
bourne’s  Drawings  for. . . .247,  248 
Kirkpatrick,  Frank,  Artist 272 


428 


FACE 


INDEX 


Klinger,  Max,  Artist.. 90, 130, 140, 
159,162 


Example  of  Work 163 

Konewka,  Paul,  Artist 167, 182 

Example  of  Work 182 

Kretzschmar,  E.,  Engraver 134 

Kugler,  Author 129 

Kunst fur  Alle 144 


Lalanne,  Maxime,  Artist . ix,  2,  21 

Work  Compared  with  Titian’s  .6-8 
La  Hollande  a Vol  d’Oiseau. ...  7 

Landscape  Work  of 59 

Examples  of  Work 76,77 

Lalauze,  A.,  Artist 88 

Pen  Drawings  and  Etchings  of  88 

Lambert,  Artist 177 

Lan^on,  Auguste,  Artist 59,  99 

Landscape  Drawing,  by  Titian  and 

by  Lalanne 6-8 

By  Claude  Lorraine 15-16 

Rico’s  Work 22-3 

Byjacquemart 98 

By  Alfred  Parsons 184 

Lang,  Artist 130 

Langham  Sketching  Club.  . . .251,  252 

Larson,  Carl,  Artist 167, 175 

Example  of  Work 175 

Lautrec,  H.  T.,  Artist 100, 1 1 5 

Example  of  Work 115 

Lavoignat,  Engraver. . .57,  62,  63, 127 

Lawson,  Cecil,  Artist 184 

Leech,  John,  Artist 138, 186 

Passing  of,  Into  Oblivion 247 

Legrand,  Artist 59 

Legros,  A.,  Artist 228 

Example  of  Work 228 

Leibl,  Wilhelm,  Artist.  . . .21, 130, 164 

Example  of  Work 165 

Leighton,  Lord,  Artist 208 

Samson,  from  Dalziel’s  Bible..  .196 
Leipzig  International  Graphic  Arts 

Exhibition  of  1914 131, 

•_ 154-5,  275,343,422 

Leloir,  Louis,  Artist 88,  1 18,  417 

Example  of  Work 118 

Leloir,  Maurice,  Artist.  . . .59,  88, 1 18 

Lemaire,  Madeleine,  Artist 59,  67 

Figure  of  Flower-girl 67 

Leon,  Artist 95 

Lepage,  J.  Bastien,  Artist 1 1 7 

Examples  of  Work 1 1 6, 1 1 7 

Lepere,  Artist 128 

Lettering,  Decorative 406-8 

Leveille,  Engraver . .22,  21,  57,  63, 127 

Liber  Studiorum 15 

Liber  Veritatis 15 

Life  and  Works  of  Frederick  the 

Great 127, 128 

Linton,  Sir  J.  D.,  Artist 184,  209 

Linton,  W.  J.,  Masterpieces  of  Wood 

Engraving 188 

Liphardt,  Artist 180 

Little  Lord  Fauntleroy,  Illustrated 

by  R.  Birch 271 

Illustration  from 284 

Lloyd,  Frank,  Journalist 349, 352 

London  Daily  Chronicle.. . 349, 352, 
353,369 


PAGE 

London  Daily  Graphic 349, 353 

London  Times,  Pen  Drawings  in.  .353 
Luders,  Hermann,  Artist.  .65, 130, 

136, 139-40 

Ein  Soldatenleben 139, 140 

Example  of  Work 140 

Lunel,  F.,  Artist 24 

Examples  of  Work 72, 73 

Lungren,  F.  H.,  Artist 272,  297 

Example  of  Work 298 

Lynch,  Albert,  Artist 77 


IVIcCARTER,  H.  B.,  Artist,  274, 


3H-I5 

Example  of  Work 314 

Newspaper  Illustrations  by.  . .354 

Macmillans,  Publishers xvi,  226 

Mackmurdo,  Arthur,  Artist.  . 186,400 

Magazine  of  Art,  The 31, 183, 310 

W.  L.  Wyllie’s  Drawings  in.  . . 185 

Magazin  Pittoresque,  Le 57 

Meissonier’s  Work  in 63 

Mahoney,  J.,  Artist 198 

Mallows,  C.  E.,  Artist 304, 306 

Manchester  Guardian,  The 353 

Mandlick,  Artist 144 

Manet,  Edouard,  Artist 102-4 

Appreciation  of  Japanese 329 

Illustrations  for  Poe’s  Raven . .410 

Mantegna,  Artist 393 

Marie,  Adrien,  Artist 58 


Marold,  Ludwig,  Artist.  . .79, 130, 


143, 145 


Example  of  Work 143 

Marquet,  Artist 347 

Example  of  Work 347 

Mars,  Artist 58 

Real  Name  of 79 

Pierrot  blanc  et  Pierrette  Noire . 79 

Martin,  Artist 95 

Martini,  Alberto,  Artist 25,  53 

Discussion  of  Work 55-6 

Marty,  E.,  Artist 122 

Example  of  Work 123 

Masic,  Niccolo,  Artist 167 

Massingham,  H.  W.,  Editor 349 

Materials  for  Pen  Drawing 413-16 


Matisse,  Henri,  Artist.  . .337, 338, 


• ■ -339,343,345,346 

Portrait  of  Himself 346 

Max  und  Moritz 130 

May,  Phil,  Artist ...  1 85, 1 86,  244,  246 
Influence  on  Modern  Illustra- 
tion   244 

Examples  of  Work . . . 244,  245,  246 

Method  of  Work 246 

Work  for  London  Daily  Chron- 
icle  349 

Meckenen,  I.  von,  Artist 3,393 

Meggendorfer,  Artist 130 

Meissonier,  J.  L.  E.,  Artist. 28,  57, 

_• 58,127,136 

Illustrations  to  Les  Contes  Re- 

mois 28,  57,  63, 64 

Discussion  of  Work 62-4 

Drawings  in  Paul  et  Virginie  .62,  63 
Drawings  in  La  Chaumiere  In- 

dienne 63 

Les  Deux  Joueurs 57, 62, 63 


429 


Influence  on  Pre-Raphaelites.  .193 
Menzel,  Adolf,  Artist. . .XI,  28,31, 

49,  58,  62,  63,  130,  131-6,  138, 

• -139,  168,  169,275,278 

Illustrations  to  Frederick  the 


Great 57 

Greatest  Pen  Draughtsman  in 

Germany 127 

Biographical  Account  of.  . . . 127-9 

Examples  of  Work 132-5 

Influence  on  Pre-Raphaelites.  . 

193,  2°9 

Mercie,  Painter  and  Sculptor 81 

Mero,  Lee,  Artist 363,369 

Coca-Cola  Design 363 

Merrymount  Press 408 

Merson,  L.  O.,  Artist 409 

Meryon,  Artist 3 

Metal  Engravings 2-3 

Michelet,  Engraver 105 

Michetti,  Artist 25 

Millais,  Sir  J.  E.,  Artist 198 

Series  of  Parables 198 

Study  for  the  Ophelia.  ...  198,  200 

Millet,  J.  F.,  Artist 58 

Modernists 337-48 

Monde  Illustre,  Le 23,  59 

Montalte,  A.,  Artist 25,27-8 

Monvel,  Boutet  de,  Artist 106 

Moore,  George,  Study  of,  by  Sick- 
ert  229 

Moran,  Peter,  Artist 272 

Moran,  Thomas,  Artist 272 

Morgan,  Mat,  Artist 273 

Morin,  Louis,  Artist 112, 113 

French  Illustrators 79 

Examples  of  Work 112 

Books  by 1 12 

Morris,  William,  Author  and  Artist 

xiii,  408 

Initials  and  Borders  by 185 

Work  for  London  Daily  Chron- 
icle. . 349 

Separation  of  Conventional 
from  Realistic  Illustration  of 

Books 379 

Example  of  Work 381 

Poor  Presswork  of 391 

Muhrman,  Henry,  Artist 271 

Muller,  Engraver 128 

Munch,  Artist 348 

Miinchener  Kalender 395 

Munich,  American  Students  of  Art 

in 271 

Munich  Academy 129 

Munzer,  A.,  Artist 161 

Example  of  Work 161 

Myrbach,  Artist 145 

Mysticism 61,  90 

In  Germany 130, 159 

In  Klinger’s  Work 162 

NaST,  Thomas,  Artist 130 

Caricatures  by 273 

W.  A.  Rogers  Compared  with 

360-1 

National  Academy 60 

National  Gallery,  Berlin 128 


PAGE 


INDEX 


PAGE 


PACE 


Neuville,  A.  de,  Artist 57,  58, 

64-6, 130 

Coups  de  Fusil 57 

New,  Herbert,  Artist 253,404 

Examples  of  Work 234 

Newspaper  Illustration,  Use  of  Pen 

Drawings  for 349-78 

New  York  Graphic , .349,  353, 370 

New  York  Herald , The 74,369 

New  York  Tribune , The 369 

Nichols,  H.  D.,  Artist 302 

Architectural  Illustration  by.  .302 
Norway,  Pen  Drawing  in 167 


ObERLANDER,  A.,  Artist 


130, 140, 142 

Examples  of  Work I41,  142 

Offset  Printing 164,423-4 

Old  Songs,  Illustrated  by  E.  A. 

Abbey 272,  278,  283 

Drawing  from 280 

Once  a Week 1 83, 1 87 

Du  Maurier’s  Work  in 185 

Oriental  Artists,  Influence  Exerted 

by. . . 328-36 

Orik,  Emil,  Artist 329 

Otto  of  the  Silver  Hand , Illustrated 

by  H.  Pyle 273,  288,394 

Our  Continent 272 

Overbeck,  Artist 28 


P ABLO  de  Segovie 23,  24, 32-6 

Pan  Presse 129 

Paolocci,  Artist 25 

Paper  for  Pen  Drawing. . . .38,413-14 

Papillon,  Engraver 57 

Parables,  in  Good  Words 198 

Pareys,  F.,  Artist 24 

Paris  Illustr'e 24,  59 

Parrish,  Maxfield,  Artist 288 

Pupil  of  Howard  Pyle 288 

Parsons,  Alfred,  Artist 23,67, 

140, 180, 184,  186,  212-14, 

■ • • • • 231,388,396 

Drawing  At  Long  Marston  . . . .213 
Work  for  London  Daily  Chron- 
icle  349 

Examples  of  Work . . . 213,  214, 


• • • -392,393,394 

Drawings  in  English  Illustrated 


Magazine 399 

Lettering  by 407 

Partridge,  J.  Bernard,  Artist 240 

Examples  of  Work 240,  241 

Pascin,  E.,  Artist 152 

Paterson,  Artist 201 

Patitucci,  M.,  Artist 371 

Example  of  Work 371 

Paul,  Bruno,  Artist 156 

Example  of  Work 156 

Paul  et  Virginie 57,  62,  63, 1 27 

Peckstein,  Max,  Artist 344,  348 

Pegram,  Fred,  Artist 259 

Portrait  of  Moffat  P.  Lindner.  258 
Pen  Drawing,  Modern  Develop- 
ment  ix 

Reasons  for  Writing  of ix-x 

Confused  with  Etching x 


Simplicity  and  Directness  of.. . xii 


Present  Unfashionableness  of. . xii 


In  the  Past 1 

Gentile  Bellini’s  Work 5 


Titian  and  Lalanne  Compared. 6-8 
Old  and  New  Heads  Compared 

• • 8-15 

Claude  Lorraine’s  Landscape 

Drawings 15-16 

Rembrandt’s  Drawings  and 

Etchings 17-20 

Spanish  and  Italian  Work..  .21-56 

In  France 57-126 

German  Work 127-66 

Dutch,  Danish  and  Other  Work 

167-82 

In  England 183-6 

In  England  in  the  Past.  . .187-210 
In  England  in  the  Present . 21 1-70 

American  Work 271-327 

Japanese  Illustration 328-36 

The  New  Illustration 337-48 

Newspaper  Illustration.  . . .349-78 

For  Book  Decoration 379-412 

Materials  for 413-16 

Methods  of  Reproduction. . .421-4 

Technical  Suggestions 417-20 

Reproduction  of 421-4 

Pennell,  Joseph,  Artist  and  Author 

306-7 

Pen  Drawing xvii 

Etchers  and  Etchings. \ 5,  27, 46, 331 
Lithography  and  Lithographers 

27,  164 

Charles  Keene  and  His  Work. . . 237 
Architectural  Drawings.  . .303, 

204,305 

Method  of  Work 306-7 

Drawings  of  French  Cathedrals. 307 

Imitators  of 308 

Part  Taken  by,  in  Introducing 
Pen  Drawings  in  Newspapers 

• • 349-53 

Drawings  for  English  News- 


papers  352,353 

Penny  Magazine 57 

Pens  for  Drawing 414-16 

Pepper  and  Salt,  H.  Pyle’s  Illustra- 
tions for 273,  288,  394 

Peter  Pan,  Illustrated  by  A.  Rack- 

ham  256 

Peterson,  T.,  Artist 180 

Example  of  Work 1 8 1 

Petit  Journal  pour  Rire,  Le 59 

Philadelphia  Sunday  Ledger 372 

Phiz,  Artist 186 

Photo-engraving 21, 421 

Good  Specimen  of 47 

Advantages  of 183 

Photography,  Use  of,  by  Artists  .1,  289 

Photogravures 421 

Photo-Lithography 423 

Picturesque  America,  H.  Fenn’s  Il- 
lustrations for 273 

Pierrot,  Le 105 

Pille,  Artist 1 13 

Pinwell,  G.  J.,  Artist 209 

Drawing  by 203 

Pissarro,  Artist 402 


Pitman,  Miss  R.  M.,  Artist 261 

Example  of  Work 261 

Piton,  Camille,  Artist 274 

Plantin  Museum,  Antwerp..  .389,402 
Plon,  Nourrit  and  Company;  Pub- 
lishers  85 

Poe,  Edgar  Allan,  Author 56 

Point,  Artist 95 

Poirie,  Emmanuel  (Caran  D’Ache), 

Artist 86 

Poirson,  V.  A.,  Artist 24 

Portfolio,  The 183 

Lalanne’s  Work  in 77 

Posters,  Drawings  for 100 

Poynter,  Sir  E.  J.,  Artist 208 

Daniel's  Prayer,  in  Dalziel's 
Bible 191,  208-9 


Prado,  Work  of  Goya  y Lucentes  in 
26-7 


Premieres,  Les 24 

Pre-Raphaelites,  The. . . .130, 188-210 
Burlesqued  by  Du  Maurier.  . .250 
Prince  of  Wales,  Lepage’s  Portrait.  1 17 

Punch 183,  187 

Charles  Keene’s  Sketches.  . 18, 

; 185,236 

Du  Maurier’s  Work. . . . 185,  250-1 

L.  Raven  Hill’s  Work 238 

J.  Bernard  Partridge’s  Work.  .240 

L.  Sambourne’s  Work 247 

Pyle,  Howard,  Artist 90,219, 

271,275,388 


Character  of  Work 273 

As  a Follower  of  Durer 286-7 

Methods  of 286-8 

Examples  of  Work 286-8, 379 

Drawings  for  Otto  of  the  Silver 

Hand 273,  288,394 

Drawings  for  Robin  Hood 394 

Drawings  for  Pepper  and  Salt 

_ 273,  288,394 

Drawings  for  Hugh  Wynne. . . .395 
Lettering  by 407 


QUANTIN,  Publisher 77 

Quatre  fils  d'Aymon,  Les 100 

Quiet  Life,  E.  A.  Abbey’s.  . . .278,  281 


RACKHAM,  Arthur,  Artist.  182, 186 

Method  of 256 

Examples  of  Work 256,  257 

Radholt,  Printer 399 

Raemakers,  Artist 167 

Raffaelli,  J.  F.,  Artist 109-10 

Examples  of  Work 109,  no 

Types  de  Paris 109 

Railton,  Herbert,  Artist.  1 86,  266,399 
Influence  of,  and  Imitators. . . .266 
Drawings  in  English  Illustrated 

Magazine 399 

Rain,  Japanese  and  Chinese  Ren- 
dering of 33 1 

Rajon,  Artist 184 

Ralston,  J.  W.  M.,  Artist 209 

Rape  of  the  Lock,  Illustrated  by 

Beardsley 226 

Raphael,  Artist ix,  2,  2 1 

Rasmussen,  L.,  Drawing  of  Sulli- 
van’s Golden  Doorway 309 


430 


INDEX 


PAGE 

PAGE 

PAGE 

Raven,  The,  Illustrated  by  E. 

Drawing  by 

9 

Shakespeare' s Comedies,  Illustrated 

Manet 

102,329 

The  Palace  of  Art 

187 

by  E.  A.  Abbey 

. . . .282 

Regamey,  Artist 

■ • • -403 

Portrait  of  Miss  Siddal . 

199 

Shannon,  Charles,  Artist.186,  219, 402 

Reid,  Sir  George,  Artist. . .23, 184, 

Rossi,  Artist 

145 

Shepherd,  W.  L 

. . . .271 

185, 211 

Rossmann,  H.,  Artist 

154 

She  Stoops  to  Conquer,  Illustrated 

Design  by 

... .211 

Roth,  Engraver 

142 

by  E.  A.  Abbey 

272, 278 

Reinhart,  Charles  S.,  Artist . . 

271, 273 

Rotogravure  Process 

. . . .421-2 

Shields,  Frederick,  Artist . . . . 

. . . .210 

Rembrandt,  Artist ix, 

,i,3. 

Rotogravure  Supplements  to  News- 

Design  for  Defoe’s  Plague 

210 

21,31 

,76,144 

papers 

367 

Shilling  Magazine,  The 

187 

Unfaithful  Servant,  The.  . . 

. .17,18 

Rousseau,  Artist 

58 

Shinn,  Everett,  Artist 

354 

Drawings  and  Etchings  by. . 17-20 

Royal  Academy 

60 

Shirlaw,  Walter,  Artist 

... .27I 

Japanese  Rendering  of 

Rain 

Ruskin,  John,  Author 

.... x,  267 

Sickert,  Walter,  Artist 

Known  to 

• • ■ -33i 

Elements  of  Drawing.  . . 

• ■ ix,  3, 420 

Study  of  George  Moore. . 

229 

Remington,  Frederick,  Artist.274,  289 

Russian  Color  Books 

167 

Silhouette  Drawing 

....  182 

Frost,  Kemble,  and 

289,  294 

Ruzicka,  R.,  Artist 

411 

Simplicissimus 129, 131, 

154,372 

Example  of  Work 

. . . .291 

Ryland,  Henry,  Artist 

399 

Singer,  Dr 

Photographic  Look  of  Work. . .289 

Examples  of  Work 

389 

Sloan,  John,  Artist 

354 

Renoir,  M.,  Artist 

Example  of  Work 

119 

Drawings  in  English  Illustrated 

Small,  William,  Artist 

119 

Magazine 

399 

Studies  by 

251,252 

Renouard,  Paul,  Artist 

.58,121 

St.  NICHOLAS 

Smedley,  W.  T.,  Artist 

Examples  of  Work 

271. 220 

Examples  of  Work 

.120, 121 

320,321 

Drawings  of  Cock-fight. . . 

405 

R.  Birch’s  Illustrations 

in 271 

Smillie,  J.  D.,  Artist 

....  272 

Repine,  Artist 

167 

Drawing  by  F.  H.  Lungren 

Smith,  Orrin,  Engraver 

57 

Reproduction  of  Pen  Drawings 

from 

298 

Soldatenleben,  Ein 

I39, 140 

. .421-24 

W.  Crane’s  Cover  Design  for.  .398 

South  America,  Illustrated  Papers 

Rethel,  Artist 

193 

Salome,  Illustrated  by  Beardsley. . 226 

in 

....  54 

Revue  Illus tree 

59 

Salon,  The 

60 

Spanish  and  Italian  Work.  . . 

. .21-56 

Jeanniot’s  Work  in 

70 

Salon  Catalogues 24,  58,  60, 396 

F.  Goya  y Lucentes 

. .26-28 

Reynold’s,  Sir  Joshua,  Artist. 

3 1 

Salzman,  A.  Von,  Artist, 

News- 

Mariano  Fortuny 

. . 28-30 

Rezenicek,  Von,  Artist 

154 

paper  Drawing  by 

350 

Daniel  Vierge 

• • -3i_6 

Richter,  Albert,  Artist 

!44 

Sambourne,  Linley,  Artist. 

...185, 

G.  Favretto 

....  36 

Drawings  in  Universum . . . 

144 

■ -247,  249 

A.  Montalti 

• ■ -37-8 

Ricketts,  Charles,  Artist.186,  219,  402 

Drawings  for  Water  Babies 

Antonio  Fabres 

.. .46-7 

Rico,  Martin,  Artist.  . . . 2,  21, 22 , . 

53, 127, 193,213 

Discussion  of  Work.  .22-23,39-43 

The  Corner  of  St.  Mark’s 39 

The  Little  Tower 41,42 

Reminiscence  of  Seville 42,  44 

Canal  with  a Gondola 42,45 

Canal  with  a Gondola 42,45 

Riley,  Mrs.  G.  C.,  Artist 373 

Example  of  Work 373 

Ringel,  Artist 59 

Head  of  De  Lesseps 37,  82,  84 

Versatility  of 84 

Riordan,  Roger,  Artist 409 

Designs  for  Stained  Glass 409 

Rire,  Le 59 

Riviere,  Henri,  Artist 113 

Example  of  Work 113 

Robida,  Artist 59 

Robin  Hood,  Illustrated  by  H.  Pyle 

27 3, 28 8 

Rochegrosse,  Artist 5 9 

Rodin,  Auguste,  Artist 84, 343-4 

Drawings  by 80,  84,  85 

An  Overrated  Personality 344 

Rogers,  Bruce,  Initials  by 403 

Rogers,  W.  A.,  Artist.  . .xvii,  271,  273 

Character  of  Work 273 

Rank  as  a Cartoonist 360-1 

Cartoon  in  New  York  Herald.  .374 
Romola,  Lord  Leighton’s  Drawings 

for 208 

Ronner,  Madame,  Artist 177 

Rose  Croix,  The 95, 176 

Rossetti,  D.  G.,  Artist,  .x,  11, 188, 
195-6,197 


247,  24-8 

Sandys,  F.,  Artist.. . .90, 159, 188, 193 
Drawing  for  Dalziel’s  Bible. . . .190 

The  Amor  Mundi 194, 195 

Sarg,  Tony,  Artist 369 

Sartor  Resartus,  Illustrated  by 

E.  J.  Sullivan 254 

Sattler,  Joseph,  Artist.  . . .149-50, 

■ • ■ 393,399 

Design  from  Dance  of  Death. . .150 

Savoy,  The 186 

Scheyner,  Artist 144 

Schlittgen,  Artist 54,79, 129, 

136, 144,  297 

Examples  of  Work 136, 137 

S chlos s in  den  Ardennen,  Ein 140 

Schmidhammer,  Artist 154 

Schmidt-Helmbrechts,  Artist 154 

Example  of  Work 1 5 1 

Schwabe,  Carloz,  Artist 90 -5 

Drawing  for  Zola’s  Le  Rive  .90, 

; 9i,  95 

Drawings  for  L’Evangile  de  L’- 

Enfance 92,  93,94,  95 

Scoppetta,  Artist 25 

Scotland,  Pen  Draughtsmen  of.  . .184 

Scott,  H.,  Artist 59,77-8 

Examples  of  Work 77, 78 

Scrambles  Amongst  the  Alps 198 

Scribner  s Monthly . . . 23,  271,  272, 373 
Blum’s  Japanese  Drawings  in. 302 

Scribner’s  Sons,  Publishers 112 

Sculpture,  Drawings  of . . . , 80-4 

Seitz,  Otto,  Artist 149, 399 

Sezanni,  Artist 25 

431 


A.  Casanova 48-52 

Later  Spaniards  and  Italians  .53-6 

J.  Garcia  y Ramos 53-4 

F.  Huertas 53-4 

Alberto  Martini 55—6 

Spare,  Artist 186 

Spence,  Robert,  Artist 261 

St.  Cuthbert,  by 260 

Steinlen,  F.,  Artist 59,99,  125 

Examples  of  Work 125 

Drawings  Which  Are  Master- 
pieces   125 

Stevens,  Alfred,  Artist 77 

Stone,  Marcus,  Artist 188 

Stuck,  Franz  von,  Artist.  130, 149, 

159-60,398 

Examples  of  Work.  . .159, 160, 

398,399 

Death  of  the  Emperor  William. . 1 59 
Drawings  in  Fliegende  Blatter .160 

Stucki,  A.,  Artist 149 

Example  of  Work 148 

Sullivan,  E.  J.,  Artist. ...  183, 186, 

253-5,388 

Examples  of  Work.  . .254,  255, 395 
Work  for  London  Daily  Chron- 
icle  349 

Sumner,  Heywood,  Artist 399 

Drawings  in  English  Illustrated 

Magazine 399 

Sunday  Magazine,  The 183, 187 

J.  Mahoney’s  Drawings  in.  . . . 198 
Sunday  Supplements,  American.367-8 

Swain,  Engraver 193, 198,  247 

Swan  Electric  Company,  Engrav- 
ers  n,i97,  253 


PAGE 

Symbolism 90 

German  Exponents  of 130 

Symbolists 61,337-48 

Symphonies , The 162 


TARTARIN  de  Tarascon,  Jean- 

niot’s  Work  in 70 

Technical  Suggestions  for  Pen 

Drawing 417-20 

Tegner,  Hans,  Artist.  . 167,  168-9,  J73 
Drawings  in  Holberg s Comedies 

167,  168, 169 

Examples  of  Work 168,  169 

Engravings  After  Drawings  of 

• 170-3 

Tenniel,  Sir  John,  Artist 247 

Tennyson’s  Poems , Illustrated  Edi- 
tion  183,  187 

Rossetti’s  Drawings  for 195-6 

Thames  River,  Wyllie’s  Drawings 

of 215 

Thaulow,  Fritz,  Artist 180 

Thoma,  Hans,  Artist 159 

Thompson,  Charles,  Engraver.  .57,  62 

Thompson,  Sir  H.,  Author 276 

Thompson,  J.,  Engraver 57 

Thomson,  Hugh,  Artist. . 1 86,  266, 399 

A Group  on  Horseback 266 

Drawings  in  English  Illustrated 

Magazine 399 

Tiepolo,  Artist 3 

Tierra  de  Maria  Santissima,  La. . . 53 

Titian,  Artist ix,  2 

Lalanne’s  Work  and  That  of.  .6-8 


Tito,  Artist 25 

Tofani,  Artist 145 

Toorop,  Jan  A.,  Artist 95, 176 

Example  of  Work 176 

Treatise  on  Etching ix 

Tribune , The 369 

Tringham,  Holland,  Artist.  . .266,372 
Drawing  of  Cologne  Cathedral 

266,372 

Trollope,  Anthony,  Author 188 

Trouville 1 36 


JJDE  OG  HJEMME,  Danish 

Journal 176 

Illustrators  of 176-80 

Uffizi  Gallery 3 

Landscape  Drawings  by  Claude 

Lorraine 15 

Unger,  E.,  Artist 144,  398,  4°5 

Example  of  Work 397 

Uniforms  of  the  Army  of  Frederick 
the  Great 131,  278 


INDEX 

PAGE 

Universum 144 

A.  Richter  and  Other  Artists  in. 144 

Unwin,  Fisher,  Publisher 24 

Unzelmann,  Engraver 127,  128 

VALE  Press 402 

Vallotin,  Felix,  Artist 95,  113 

Example  of  Work 1 13 

Van  Dyck,  Anthony,  Artist 3 

Head  of  Child 11,12 

Head  of  Snyders 14 

Heads  by  Desmoulins  and.  ...  14 
Van  Gogh,  Vincent,  Artist.  . .337, 

y 339,  342-3,  345-6 

Drawing  of  Cafe 34 1 

Mont  Majeur  at  Sunset 346 

Van  Ingen  and  Snyder,  Engravers 
Van  Ingen  and  Snyder,  Engravers . 283 

Vanity  Fair .368 

Drawings  by  M.  Fellows  in.  . . 

■ 360,361 

Vedder,  Elihu,  Artist 409 

Velasquez,  Artist 2 

Venice,  as  Center  of  Interest 60 

Victoria  and  Albert  Museum 196 

Vie  Moderne,  La  . ...  14,  23,  24,  31, 

■■•58,59,70,i8o 

Jeanniot’s  Work  in 70 

Vient  de  Paraitre 59 

Vie  Parisienne,  La 59 

Vierge,  Daniel,  Artist. ...  2,  21,  22, 

3i,49,  53,58,6o,  1 12, 

...........138,140,145,167,  275 

Discussion  of  Work.  . . .23-4, 31-6 
Drawings  for  Pablo  de  Segovie 

23,24,32-6 

Vinci,  L.  da,  Artist ix,  2 

Vogel,  Albert,  Engraver 127,  128 

Vogel,  Hermann,  Artist 145-6 

Examples  of  Work.  . . 145,  146,  147 

Vogel,  Otto,  Engraver 128 

Volpone,  Illustrated  by  Beardsley. 226 
Von  Herkomer,  Sir  H.,  Artist.  . . .270 
Example  of  Work 270 

WALKER,  Emery,  Artist 183 

Walker,  Fred,  Artist 198,  201 

Examples  of  Drawings  by. 201,  202 

Independence  of  Work 208 

Walton’s  Angler , New’s 235 

Warwick,  Edward,  Artist xiii 

Water  Babies,  Illustrated  by  Sam- 


bourne 

■ • 247,  248 

Waterhouse,  Col.,  Author. . 

421 

Waterlow  and  Sons,  Publishers ..  . 43 

Watson,  J.  D.,  Artist 

209 

Watteau,  J.  A.,  Artist 

112 

PAGE 

Weber,  Marie,  Artist 82-3 

Heads  of  Angels  by 83 

Weeks  Photo-Engraving  Company 

xvi,  149,  316,  421 

Weisgerber,  A.,  Artist 157 

Example  of  Work 157 

Welsh,  H.  Devitt,  Artist xiii, 

274,308,354,370 

Newspaper  Illustrations  by.  . . 

; 356,357 

Whistler,  J.  M.,  Artist.  ...1,3,  76, 

102,  184 

Etchings  of 19 

As  a Pen  Draughtsman 185 

Opinion  of  Charles  Keene.  18 5,  236 
Specimens  of  Pen  Drawing. . . . 

_ 276,  277 

Book  and  Magazine  Work  by 

_■  • 276-7 

Appreciation  of  Japanese . 329,  332 


Catalogue  of  Blue  and  White 

China 332 

Work  for  London  Daily  Chron- 
icle  349 

Whitney,  Artist 127,  201 

Whymper,  E.,  Engraver 198 

Wilke,  Rudolph 166 

Example  of  Work 166 

Willette,  A.,  Artist 59, 105 

Williams,  Isaac  L.,  Artist 283 

Wilson,  Edgar,  Artist . . . 242,  329, 404 

Examples  of  Work 242,  243 

Windsor  Collection 15 

Wirgman,  T.  Blake,  Artist. . .184,  217 

Portrait  of  Armstead 216 

Portrait  of  Mrs.  Smeaton 217 

Wolf,  M.  A.,  Caricatures  by 273 

Wonder  Clock , Hj  Pyle’s  Illustra- 
tions   286,  288 

Wood  Engraving 22,  49,  57 

Revival  of,  in  Spain  and  Italy.  53 

Invention  of 57 

Menzel’s  Influence  on 1 27-8 

Wright  Gravure  Company 316 

Wyllie,  W.  L.,  Artist 185,  215 

Drawings  of  the  Thames  by. . .215 

Yellow  Book,  The 186,226 

Yon,  Edmond,  Artist 59 

Yriarte,  Charles,  Author 28 

Yves,  Engraver 68 

ZlMENEZ,  Artist 25 

Zola,  E.,  Le  Rev e Illustrated  by 

C.  Schwabe 90,  91,  95 

Zuloaga,  I.,  Artist 28,48 


432 


